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IHAMJ ■SISNTOMJiJVNIOR-'VNiiyERSZn'
MODERN SPANISH
LYRICS
ELIJAH CLARENCE gJLLS, Ph.D., Liti.D.
PtoJiisbt ^ RBmoKi UmtKOtii » COtrait Cetliii
S. GEISWOLD MORLEY,. PH.D.
NEW YORK
HENRY HOLT AND COMPANY
1913
ComucsT, 1913.
BT
HENRY HOLT AND COMPANY
222063
■ •
.• •
• • *
4
4
• •
PREFACE
The present volume aims to furnish American stu-
dents of Spanish with a convenient selection of the
Castilian lyrics best adapted to class reading. It was
the intention of the editors to include no poem which
did not possess distinct literary value. On the other
hand, some of the most famous Spanish lyrics do not
seem apt to awaken the interest of the avei
dent: it is for this reason that scholars will miss the
names of certain eminent poets of the sigh de oro.
I The nineteenth century, hardly inferior in merit and
J nearer to present-day readers in thought and language,
I is much more fully represented. No apology is needed
I for the inclusion of poems by Spanish-American wri-
] ters, for they will bear comparison both in style and
I thought with the best work from the mother Peninsula.
The Spanish poems are presented chronologically,
I according to the dates of their authors. The Spanish-
I American poems are arranged according to countries
Land chronologically within those divisions. Omissions
ft are indicated by rows of dots and are due in all cases to
I the necessity of bringing the material within the limits
|of a small volume. Three poems {the Fitsta de toros of
\MQTa.t{a, Xh^ Casidlano leal oi Rivas and the Leyenda
\ Zorrilla) are more narrative than lyric. The r»-j
%
J
IV PREFACE
mances selected are the most lyncal of their kind. A
few songs have been added to illustrate the relation
of poetry to music.
The editors liave been constantly in consultation in
all parts of the work, but the preparation of the Prosody ,
the Notes (including articles on Spanish- American litera-
ture) and the part of the Introduction dealing with the
nineteenth century, was imdertaken by Mr. Hills,
while Mr. Morley had in charge the Introduction prior
to 1800, and the Vocabulary, Aid has been received
from many sources. Special thanks are due to Pro-
fessor J. D. M. Ford and Dr. A. F. Whittem of
Harvard University, Don Ricardo Palma of Peru,
Don Ruben Dario of Nicaragua, Don Rufino Blanco-
Fombona of Venezuela, Professor Carlos Bransby of
the University of California, and Dr. Alfred Coester
of Brooklyn, N. Y.
£. C H.
S. G. M,
CONTENTS
PAGE
Preface . , iii
Introduction:
I. Spanish Lyric Poetry to 1800 xi
II. Spanish Lyric Poetry of the Nineteenth Century xxxi
III. Spanish Versification xliii
ESPANA
Romances:
Abendmar x
Fonte-frida 3
El conde Amaldos . / 4
La constancia 5
El amante desdichado 5
El prisionero 7
Vicente (Gil) (1470-1540?)
Canci6n 8
Teresa de jEStJS (Santa) (15 15-1582)
Letrilla (que llevaba por registro en su breviario) . . 9
Le6n (Fray Luis de) (15 27-1591)
Vida retirada 9
An6nimo
A Cristo cnicificado 12
Vega (Lope de) (1562-1635)
Canci6n de la Virgen 13
Manana 14
Quevedo (Francisco de) (i 580-1 645)
Epistola satfrica al conde de Olivares . . , . . 15
Letrilla satfrica 16
ViLLEGAS (ESTEBAN MaNUEL DE) (1589-1669)
Cantilena: De un pajarillo 17
Calderon de la Barca (Pedro) (1600-1681)
" Estas que fueron pompa y alegrfa," 18
Consejo de Crespo i, su hijo 19
GonzAlez (Fray Diego) (i 733-1 794)
El murci61ago alevoso ao
V
Ti CONTENTS
PAGE
MoKAifN (NicolAs F. de) (i 737-1 780)
Fiesta de toros en Madrid 26
JovEiXANOS (Gaspak M. de) (i 744-181 i)
A Amesto ." . . , 38
Mel^ndez VAiDis Quan) (i 754-181 7)
Rosaoa en los fuegos 42
QcDiTANA (Manuel Josi) (1772-1857)
Oda i. Espana, despues de la revoluci6n de marzo . 46
Soiis (DiONisio) ( 1 774-1834)
La pregunta de la nina 51
Gaixego (Juan Nicasio) (i 777-1853)
El Dos de Mayo 54
MASrfNEZ DE LA ROSA (FrANCISCO) (1787-1862)
£11 nido .... 60
RivAS (DuQUE de) ( 1 791-1865)
Un castellano leal 6i
AxoLAS (Padse Juan) (1805-1849)
"S6nids felizque yo" 71
Espsonceda (Josi. de) (1808-1842)
Canci6n del pirata 73
A la patria 76
ZommiLLA (Josi) (181 7-1893)
Oriental 79
Indedsi6n 82
La f uente 86
A buen juez, mejor testigo 86
Tkueba (Antonio de) (1821-1889)
Cantos de pijaro 112
Laperejilera 114
Selgas (Josf) (1821-1882)
Lamodestia 114
Alasc6n (Pedro Antonio de) (i 833-1 891)
El Mont-Blanc 117
El secrete 120
BicQUER (Gustavo A.) (1836-1870)
Rimas: II 121
vn 122
LIII 122
Lxxm 124
0
CONTENTS vii
PAGE
QuEROL (Vicente Wenceslao) (1836-1889)
En Noche-Buena 128
Campoamor (Ram6n de) (1817-1901)
Proximidad del bieh 133
iQui6n supiera escribir! 134
El mayor castigo 136
NdNEz de Arce (Caspar) (1834-1903)
jExcelsior! 137
Tristezas 137
jSursum Corda! 144
Pal AGIO (Manuel del) (183 2-1 895)
Amor oculto 148
Bartrina (JoAQufN MarIa) (1850-1880)
Arabescos 148
Reina (Manuel) (i860-)
La poesfa 149
ARGENTINA
EcheverrIa (O. Esteban) (1805-185 i)
Canci6n de Elvira 151
Andrade (Olegario Victor) (i 838-1 882)
Atldntida 152
Prometeo 159
Obligado (Rafael) (185 2-)
En la ribera 160
COLOMBIA
Ortiz (Jose JoaquIn) (1814-1892)
Colombia y Espaiia 162
Caro (Jos£ Eusebio) (181 7-1853)
El cipr6s 164
MARROQUfN (JOS6 MANUEL) (1827-)
Los cazadores y la perrilla 167
Caro (Miguel Antonio) (i 843-1 909)
Vuelta i la patria 171
viii CONTENTS
PAGE
Amoeta (Di6genes A.) (1848-)
En la tumba de mi hijo 174
GuTiiRKEZ Ponce (Ignacio) (1850-)
Dolora 175
Garavito a. (Jos6 MarIa) (i860-)
Volver6 manana . 177
CUBA
Heredia (Jos6 MarIa) (1803-1839)
En el teocalli de Cholula 179
El Niagara 184
"PlAcido" (Gabriel de la Concepci6n Vald^s) (1809-1844)
Plegaria i Dios 190
AVELLANEDA (GeRTRUDIS G6mEZ DE) (1814-1873)
A Washington 191
Al partir 192
ECUADOR
Olmedo (Jos^ JoaquIn) (i 780-1847)
La victoria de Junfn 193
MEXICO
PeSADO (Jos6 JOAQUfN DE) (1801-1861)
Serenata 199
Calder6n (Fernando) (1809-1845)
La rosa marchita . 200
Acm^A (Manuel) (1849-1873)
Noctumo: A Rosario 202
Peza (Juan de Dios) (185 2-1 910)
Reir Uorando 207
Fusiles y munecas 207
NICARAGUA
DarIo (Rub^n) (1864-)
A Roosevelt 211
CONTENTS IX
VENEZUELA
PAGE
Bello (Andres) (i 781-1865)
A la victoria de Bail6n 214
La agricultura de la zona t6rrida 214
P^REZ BONALDE (JUAN AnTONIO) (1846-1892)
Vuelta i, la patria 220
MARTfN DE LA GUARDIA (HeRACLIO) (1830-)
tJltima ilusi6n 224
CANCIONES
La carcelera 225
Riverana 226
La cachucha 227
La valenciana 230
Canci6n devota 233
La jota gallega 235
El trdgala 238
Himno de Riego 242
Himno nacional de Mexico 247
Himno nacional de Cuba 251
Notes 253
Vocabulary 323
^V SPANISH
INTRODUCTION^-..
LYRIC POETRY TO iSoo .■ '
1 observed that epic poetry, which is-£oi]ec-
tive and objective in its nature, always reaches its' luH;
development in a nation sooner than lyric poetry, whieli,
is individual and subjective. Such is certainly the case
in Spain. Numerous popular epics of much merit existed
there in the Middle Ages.^ Of a popular lyric there are
few traces in the same period; and the Castihan lyric as an
art-form reached its height in the sixteenth, and again in
the nineteenth, centuries. It is necessary always to bear in
mind the distinction between the mysterious product called
popular poetry, which is continually being created but
seldom finds its way into the annals of literature, and artis-
tic poetry. The chronicler of the Spanish lyric is con-
cerned with the latter almost exclusively, though he will
have occasion to mention the former not infrequently as
the basis of some of the best artificial creations.
If one were to enumerate iib origine the iyric productions
of the Iberian Peninsula he might begin with the vague
references of Strabo to the songs of its primitive inhabit-
' The popular epics were wriKenin assooatinR lincj of variable length.
There were also numeroua motikiah aanative poems {mesler de dgre^)
in stanzas of foui AJeiaDdriae lines each, ail rimiag {cuadenia via).
,• »
xii INTRODUCTION
r V .
ants, and then pass on.-ta Latin poets of Spanish birth, such
as Seneca, Lucan aad ^Martial. The later Spaniards who
wrote Christian poetiy in Latin, as Juvencus and Pruden-
tius, might then Jdc considered. But in order not to embrace
many diver{«e^sui>jects foreign to the contents of this collec-
tion, we i3Mist. confine our inquiry to lyric production in the
language* of .'Castile, which became the dominating tongue
of the Kingdom of Spain,
.^uck^a restriction excludes, of course, the Arabic lyric, a
-^§5fjty artificial poetry produced abundantly by the Moors
••dtwring their occupation of the south of Spain; it excludes
'also the philosophical and rehgious poetry of the Spanish
Jews, by no means despicable in thought or form. . Catalan
poetry, once written in the Provencal manner and of late
happily revived, also Ues outside our field.
Even the Gahcian poetry, which flourished so freely
imder the. external stimulus of the Provencal troubadours,
can be included only with regard to its influence upon
Castilian. The Gahcian dialect, spoken in the northwest
comer of the Peninsula, developed earUer than the Castilian
of the central region, and it was adopted by poets in other
parts for lyric verse. Alfonso X of Castile (reigned 1252-
1284) could write prose in CastiHan, but he must needs
employ Gahcian for his Cantigas de Santa Maria. The
Portuguese nobles, with King Diniz (reigned 1 279-1325) at
their head, filled the idle hours of their bloody and passionate
lives by composing strangely abstract, conventional poems
of love and rehgion in the manner of the Provencal cansoy
dansay balada and pastorelaywYdch had had such a luxuriant
growth in Southern France in the eleventh and twelfth
centuries. A highly elaborated metrical system mainly
INTEODUCTION
fatinftuishes these writers, but some of their work catches i
pleasing lilt which is supposed to represent the imitation
of songs of the people. The popular element in the Gali-
cian productions is slight, but it was to bear important
fruit later, for its spirit is that of the senanas of Ruiz and
Santillana, and of vUlanricos and eclogues in the sisteenth j
century.
It was probably in the neighborhood of 1350 that lyrics
began to be written in Castilian by the cultured classes of
Leon and Castile, who had previously thought Galician the
only proper tongue for that use, but the influence of the
GaUcian school persisted long after. The first real lyric in
Castihan is its offspring. This is the anonymous Razdn
feyta d'amor or Avenlura amorosn (probably thirteenth
century), a dainty story of the meeting of two lovers. It
is apparently an isolated example, ahead of its time, imless,
as is the case with the Castilian epic, more poems are lost
than extant. The often quoted Cinlkn de la Virgcn of
Gonzalo de Berceo (first half of thirteenth century), with
its popular refrain Eya velar, is an oasis in the long religious
epics of the amiable monk of S, Millan de la CogoUa. One
must pass into the succeeding century to find the next
examples of the true lyric. Juan Ruiz, the mischievous
Archpriest of Hita (flourished ca. 1350), possessed a genius
sufficiently keen and human to infuse a personal vigor into
stale forms. In his Libro de bven amor he incorporated,
lyrics both sacred and profane, Loores de Santa Maria and
Cdnlicas de serrana, plainly in the Galician manner and of
complex metrical structure. The serranas are particulariy
free and unconventional. The Chancellor Pero L6pez de "
Ayala {1332-1407), wise statesman, brilhant historian and
XIV INTRODUCTION
trenchant satirist, wrote religious songs in the same style
and still more intricate in versification. They are included
in the didactic poem usually called El rimado de pdacio.
Poetry flourished in and about the courts of the monarchs
of the Trastamara family; and what may be supposed a
representative collection of the work done in the reigns of
Henry II (1369-1379), John I (1379-1388), Henry HI
(1388-J406) and the minority of John II (1406-1454), is
preserved for us in the Cancionero which Juan Alfonso de
Baena compiled and presented to the last-named king.
Two schools of versifiers are to be distinguished in it. The
older men, such as Viliasandino, SSochez de Talavera,
Madas, Jerena, Juan Rodriguez del Padr6n and Bacna
himself, continued the artificial Galidan tradition, now run
to seed. In others appears the imitation of Italian models
which was to supplant the ancient fashion. Francisco Im-
perial, a worshiper of Dante, and other Andalusians such
as Ruy Piez de Ribera, Pero Gonzalez de Uceda and FerrSn
Manuel de Lando, strove to introduce Italian meters and
ideas. They first employed the Italian hcndecasy liable,
although it did not become acclimated till the days of
Boscan. They likewise cultivated the vielro de arte mayor,
which later became so prominent (see below, p. Ixxv ff.).
But the interest of the poets of the Cancionero de Baena is
mainly historical. In spite of many an iUuminating side-
.light on manners, of political invective and an occasional
ghnt of imagination, the amorous platitudes and wire-drawn
love-contests of the Galician school, the stiff allegories of the
Itahanates leave us cold. It was a transition period and
the most talented were unable to master the undeveloped
poetic language.
INTRODUCTION
w
^^V The same may be said, in general, of the whole fifteenth
^^nentiuy. Although the language became greatly clarified
toward 1500 it was not yet ready for masterly original
work in verse. Invaded by a flood of Latinisms, springing
from a novel and undigested humanism, encumbered still
with archaic words and set phrases left over from the Gali-
cians, it required purification at the hands of the real poets
and scholars of the sixteenth century. The poetry of the
» fifteenth is interior to the best prose of the same epoch; it
b not old enough to be quaint and not modem enough to
ttieet a present-day reader upon equal terms.
These remarks apply only to artistic poetry. Popular
poetry, — that which was exemplified in the Middle Ages by
the great epics of the Cid, the Infantes de Lara and other
heroes, and in soogs whose existence can rather be inferred
than proved, —was never better. It produced the lyrico-
epic romances (ste Noks, p. 253), which, as far as one may
judge from their diction and from contemporary testimony,
received their final form at about this time, though in many
cases of older origin. It produced charming Uttle son^
which some of the later court poets admired sufficiently to
gloss. But the cultured writers, just admitted to the splen-
did cultivated garden of Latin literature, despised these
simple wayside flowers and did not care to preserve them
for posterity.
^^^ The artistic poetry of the fifteenth century falls naturally
^^^Kto three classes, corresponding to three currents of influ"
^^Hnce; and all three frequently appear in the work of one
^^Tnan, not blended, but distinct. One is the conventional
love-f>oem of the Galician school, seldom containing a fresh
or personal note, .\nother is the stilted allegory with
XVI INTRODUCTION
erotic or historical content, for whose many sins Dante was
chiefly responsible, though l*etrj.rch, he of the Triunfi, and
Boccaccio cannot escape some blame. Third is a vein of
highly moral reflections upon the vanity o£ life and certainty
of death, sometimes running to political satire. Its roots
may be found in the Book of Job, in Seneca and, nearer
at hand, in the Proverbios morales of the Jew Sem Tob
(ca. 1350), in the Rimado de Faiacio of Ayala, and in a
few poets of the Cancionero de Baena.
John II was a dilettante who left the government of the
kingdom to his favorite, Alvaro de Luna. He gained more
fame in the world of letters than many better kings by
fostering the study of literature and gathering about him
a drde of "court poets" neariy all of noble birth. Only
two names among them all imperatively require mention.
Inigo Lopez de Mendoza, mahquis of Santillana (1358-
1458} was the finest type of grand seigneur, protector of
letters, student, warrior, poet and pohtician. He wrote
verse in all three of the manners just named, but he will
certainly be longest remembered for his serrantUas, the
fine flower of the Provencal-Galidan tradition, in which
the poet describes his meeting with a country lass. Santi-
llana combined the freshest local setting with perfection of
form and left nothing more to be desired in that genre. He
also wrote the first sonnets in Castilian, but they are inter-
esting oiUy as an experiment, and had no followers. Juan
de Mena (1411-1456) was purely a Hterary man, without
other distinction of birth or accomplishment. His work
is mainly after the Italian model. The Laberinlo dejortuna,
by which he is best known, is a dull allegory with much of
Dante's apparatus. There are historical passages where
INTRODUCTION rvll
■die poet's patriotism leads him to a certain rhetorical
leight, but his good intentions are weighed dovm by three
millstones: slavish imitation, the monotonous arte mayor
stanza and the deadly earnestness of his temperament. He
enjoyed great renown and authority /or many decades.
rTwo anonymous poems of about the same time deserve
mention. The Danta de la muerte, the Caslihan representa-
tive of a type which appeared all over Europe, shows death
summoning mortals from all stations of Ufe with ghastly
^ee. The Coplas tk Mingo Reoidgo, promulgated during
the reign of Henry IV (1454-1474), are a political satire in
dialogue form, and exhibit for the first time the peculiar
peasant dialect that later became a convention of the pas-
toral eclogues and also of the country scenes in the great
drama.
I The second half of the century continues the same ten-
^dencies with a notable development in the fluidity of the
language and an increasing interest in popular poetry.
Jpfimez Manrique (d. 1491?) was another warrior of a hterary
nun whose best verses are of a severely moral nature. His
Bephew Jorge Manrique (1440-1478) wrote a single poem
•f the highest merit; his scanty other works are forgotten.
The Coplas por la muerte de su padre, beautifully translated
by Longfellow, contain some laments for the writer's per-
sonal loss, but more general reflections upon the instabiUty
o( worldly glory. It is not to be thought that this famous
poem is in any way original in idea; the theme had already
been exploited to satiety, but Manrique gave it a supcrla-
ftive perfection of form and a contemporary application
hich left no room for improvement.
I There were numerous more or less successful love-poets
XVm INTRODUCTION
of the conventional type writing in octosyllabics and the
inevitable imitators of Dante with their unreadable alle-
gories in arte mayor. The repository for the short poems
of these writers is the Cancionero general of Hcmando de
Castillo (1511). It was reprinted many times throughout
the siJiteenth century. Among the writers represented in
it one should distinguish, however, Rodrigo de Cota (?).
His dramatic LHdlogo entre el amor y un viejo has real charm,
and has saved his name from the oblivion to which most of
his fellows have justly been consigned. The bishop Ambro-
sio Montesino {Caticio-nero, 1508} was a fervent religious
poet and the precursor of the mystics of fifty years later.
The political condition of Spain improved immensely
in the reign of Ferdinand and Isabella (1479-1516) and the
country entered upon a period of internal homogeneity and
tranquillity which might be expected to foster artistic pro-
duction. Such was the case; but literature was not the first
of the arts to reach a highly refined state. The first half
of the sixteenth century is a pieriod of humanistic study,
and the poetical works coming from it were still tentative.
Juan del Encina (1469-1533?) is important in the history
of the drama, for his fglogas, represenlacianes and autos are
pracrically the first Spanish dramas not anonymous. As a
lyric poet Encina excels in the light pastoral; he was a musi-
cian as well as a poet, and his bucolic vUlancicos and glosas in
stanzas of sii- and eight-syllable lines are daintily written
and express genuine love of nature. The Portuguese Gil
Vicente (1470-1540?) was a follower of Encina at first, but
a much bigger man. Like most of his compatriots of the
sixteenth century he wrote in both Portuguese and Castiiian,
though better in the former tongue. He was dose to the
i
INTRODUCTION
XIX 1
sue
■people ID his thiutung and writing and some of the si
r-fiontained in his plays reproduce the truest popular savi
The intimate connection between Spain and Italy during
the pieriod when the armies of the Emperor Charles V
(Charles I of Spain: reigned 1516-1555) were overrunning
the latter country gave a new stimulus to the imitation of
Italian meters and poets which we have seen existed ii
premature state since the reign of John II. The man who
first achieved real success in the hendecasyllable, combined
octaves, tcrsa rima and blank verse, was Jua
BoscAn Aluocaver (i49o?-i542), a Catalan of wealth J
fiflnd culture. Bosc^n was handicapped by writing i
.tongue not native to him and by the constant holding of |
foreign models before his eyes, and he was not a man
■genius; yel his verse kept to a loftier ideal than had a
peared for a long time and his effort to lift Castilian poetry j
from the slough of convention into which it had fallen was I
successful. During the rest of the century the impulse I
given by Boscfin divided Spanish lyrists into two opposing |
fcosts, the Italianates and those who clung to the native I
'jneters (stanzas of short, chiefly octosyllabic, lines, for the |
•arU mayor had sunk by its own weight).
The first and greatest of Bosc&n's disciples was his dose
lend Garcilasq de la Vega (1503-1536) who far sur-
passed his master. He was a scion of a most noble family,
favorite of the emperor, and his adventurous i
itly in Italy, ended in a soldier's death. His J
poems, however (ighgas, canciones, sonnets, etc.), take us J
from real life into the sentimental world oi the Arcadian I
itoral. Shepherds discourse of their unrequited loves ^
n amid surroundings of an idealized Nature.
INTRODUCnON
The pure diction, the Vergilian flavor, the classic finish o£
these poems made them favorites in Spain from the first,
and their author has always been regarded as a master.
With Garcilaso begins the golden age of Spanish poetry
and of Spanish literature in general, which rnay be said to
close in 1681 with the death of Calder6n. It was a period
of external greatness, of conquest both in Europe and
beyond the AUantic, but it contained the germs of future
decay. The strength of the nation was exhausted in futile
warfare, and virile thought was stifled by the Inquisition,
supported by the monarchs. Hence the luxuriant litera-
ture of the time runs in the channels farthest from under-
lying social problems; philosophy and poUtical satire are
absent, and the romantic drama, novel and lyric flourish,
external qualities the poetry written during this
period has never been equalled in Spain. Its poUsh, color
and choiceness of language have been the admiration and
model of later Castilian poets.
The superficial nature of this Uterature is exhibited in
the controversy excited by the efforts of Boscan and Gar-
cilaso to substitute Italian forms for the older Spanish ones.
The discussion dealt with externals; with meters, not ideas.
Both schools delighted in the airy nothings of the conven-
tional love lyric, and it matters little at this distance whether
they were cast in lines of eleven or eight syllables.
The contest was warm at the time, however. Sa de
Miranda (1495-1558), the chief exponent of the Italian
school in Portugal, wrote effectively also in CastiUan.
Gutierre de Cetina (i5i8?-!572?) and Fernando de Acufia
(iSOO?-is8q?) are two others who supported the new
es. One whose example had more influence is
i
I
INTRODUCTION XXI
Diego Hurtado de Mendoza (1503-1575), a famous diplo-
mat, humanist and hiatorian. He entertained his idle mo-
ments with verse, writing cleverly in the old style but
turning also toward the new. His sanction for the latter
seems to have proved decisive.
Crist6bal de Castillejo (1490-1556} was the chief de-
fender of the native Spanish forms. He employed them
himself in light verse with cleverness, clearness and finish,
and also attacked the innovators with all the resources of
a caustic wit. In this patriotic task he was for a time aided
by an organist of the cathedral at Granada, Gregorio
Silvestre (1520-1569), of Portuguese birth. Silvestre, how-
ever, who is noted for the delicacy of his poems in what-
ever style, was later attracted by the popularity of the
Italian meters and adopted them.
This literary squabble ended in the most natural way,
namely, in the co-existence of both manners in peace and
harmony. Italian forms were definitively naturalized in
Spain, where they have maintained their place ever since.
Subsequent poets wrote in either style or both as they felt
moved, and no one reproached them. Such was the habit
of Lope de Vega, Gfingora, Quevedo and the other great
writers of the seventeenth century.
A Sevillan Italianate was Fernando de Hekrera (1534?-
1597), admirer and annotator of Garcilaso. Although an
ecclesiastic, his poetic genius was more virile than that of
hia soldier master. He wrote Petrarchian sonnets to his
platonic lady; but his martial, patriotic spirit appears in
hb canciones, especially in those on the battle of Lepanto
and on the expedition of D. Sebastian of Portugal in Africa.
In these stirring odes Herrera touches a sonorous, grandilo-
XXU INTRODUCTION
quent chord which rouses the reader's enthusiasm and
places the uTiter in the first ranit of Spanish lyrists. He is
noteworthy also in that he made an attempt to create a
poetic language by the rejection of vulgar words and the
coinage of new ones. Others, notably Juan de Mena, had
attempted it before, and Gongora afterward carried it to
much greater lengths; but the idea never succeeded in
Castilian to an extent nearly so great as it did in France,
tor example; and to-day the best poetical diction does not
differ greatly from good conversational language.
Beside Herrera stands a totally different spirit, the Sala-
mancan monk Lms de Leon {1527-1591). The deep re-
ligious feeling which is one strong trait of Spianish character
has its representatives in Castihan hterature from Berceo
down, but Leon was the first to give it fine artistic expres-
sion. The mystic sensation of oneness with the divine, of
aspiration to heavenly joys, breathes in all his writings. He
was also a devoted student of the classics, and his poems
(for which he cared nothing and which were not pubUshed
till 1631) show Latin rather than Itahan influence. There
is nothing in literature more pure, more serene, more direct
or more pohshed than La vida del campo, Nocke serena and
others of his compositions.
The other great -mystics cared less for literature, either as
a study or an accomplishment. The poems of Saint Theresa
(1515-1582) are few and mostly mediocre. San Juan de la
Cruz, the Ecstatic Doctor (1542-1591), wrote the most
ejialted spiritual poems in the language; like all the mys-
tics, he was strongly attracted by the Song of Songs which
was paraphrased by Pedro Malon de Chaide (1530-1596?).
It is curious to note that the staiiza adopted in the great
\
INTRODUCTION J
mystical lyrics is one invented by Garcilaso and used ii
amatory fifth. Cancidn. It has the rime-scheme of the'f
'Spanish quintUla, but the lines are the ItaUan eleven- ,
.-syllable (cE. pp. Q-u). Religious poems in morel
popular forms are found in the Romancero espiritual (1612J J
of Jose de Valdivielso, and in Lope de Vega's Ritnas ]
focras (1614) and Romaiuera espiritual (1623),
There were numerous secular disciples of Garcilaso at I
about the same period. The names most deserving mentiott I
are those of Francisco de la Torre (d. 1504?), Luis Barahona .1
de Soto (iS3S?-i595) and Francisco de Figueroa (1536?- I
1620), all of whom wrote creditabh' and sometimes with. I
distinction in the Italian forms. Luis de Camoens (i5!4?-J
1580), author of the great Portuguese epic Os Lusiadas, T
employed Castihan in many verses with happy result.
These figures lead to the threshold of the seventeenth I
century which opened with a tremendous literary output I
many lines. Cervantes was writing his various noveb;
the romance of roguery took on new life with Guzmdn de I
[Ifarache (1590); the drama, which had been developing I
,ther slowly and spasmodically, burst suddenly into full I
'flower with Lope de Vega and his innumerable followers. ,
The old meter of the romance was adopted as a favorite I
form by all sorts and conditions of poets and was turned |
from its primitive epic simplicity to the utmost variety of 1
(Subjects, descriptive, lyric and satiric.
From out this flood of production — tor every dramatist I
isure a lyric poet, and dramatists were legion —
can select for consideration only the men most prominent ,
lyrists. First in the impulse which he gave to literature
more than a century foUowing stands Luis de Argoie v
XXIV INTRODUCTION
GoNGOHA (1561-1627), a Cordovan who chose to be kcown
by his mother's name. His life was mainly that of a dis-
appointed place-hunter. His abrupt change of literary
manner has made some say that there were in him two
poets, Gongora the Good and Gongora the iJad. He began
by writing odes in the manner of Herrera and romances and
viUandcos which are among the clearest and best. They
did not bring their author fame, however, and he seems
deliberately to have adopted the involved metaphoric style
to which Marini gave his name in Italy. G6ngora is merely
the Spanish representative of the movement, which also
produced Euphuism in England and priciosUi in France.
But he surpassed all previous writers in the extreme to
which he carried the method, and his Soiedades and Polijcmo
are simply unintelligible tor the inversions and strained
metaphors with which they are overloaded.
His influence was enormous. Gongorisra, or culleranismo,
as it was called at the time, swept the minor poets with it,
and even those who fought the movement most vigorously,
like Lope and Quevedo, were not wholly free from the con-
tagion. The second generation of dramatists was strongly
affected. Yet there are few lyric poets worth mentioning
among G6ngora's disciples for the reason that such a per-
nicious system meant certain ruin to those who lacked the
master's talent. The most important names are the Count
of Villamcdiana (1580-1622), a satirist whose sharp tongue
caused his assassination, and Paravicino y Arteaga {1580-
1633), a court preacher.
Obviously, such an innovation could not pass without
opposition from clear-sighted men. Lope de Vega (1562-
1635) attacked it whenever opportunity offered, and his
INTRODUCTION
XXV '
En shows signs of corruption. It is impossible
the master-dramatist at length here. He wrote
over 300 sonnets, many excellent eclogues, epistles, and, in ,
more popular styles, glosses, klriUas, villuiKicos, romances,
etc. Lope more than any other poet of his lime kept his
Ii^ar dose to the people, and his light poems are full of the .
Ilelicious breath of the country.
L The other principal opponent of Gongorism was Fran-
Ikco Gomez de Ql'evedo y Villegas (1580-1645), whose
pit and independence made him formidable. In 1631 he
published the poems of Luis de Ledn and Francisco de la
jETorre as a protest against the baleful mannerism in vogue.
But he himself adopted a hardly less disagreeable style,
called conceptism, which is supposed to have been invented
by Alonso de Ledesma (1552-1633). It consists in a strained
^^^Beareh for unusual thoughts which entails forced paradoxes,
^^fbiti theses and epigrams. This system, combined with local
^^Bfllusions. double meanings and current slang, in which
^^™Qaevedo delighted, makes Ms poems often extremely diffi-
cult of comprehension. His romances de jaques, written in '
thieves' jargon, are famous in Spain. Quevedo v
much and carelessly and tried to cover too many fields, but '
^t his best his caustic wit and [earless vigor place him high.
• There were not lacking poets who kept themselves free
com taint of culleranismo, though they did not join in the
^t against it. The brothers Argensola (Lupercio Leo-
! AxGENSOLA, 1559-1613, BARTOLOiEE Leonardo
E Argensola, 1563-1631), of Aragonese birth, turned to
[orace and other classics as well as to Italy for their in-
a^Mration. Their pure and dignified sonnets, odes and
translations rank high. Juan MARifNEz de JAdregoi
XXVI INTRODUCTION
(1583-1641) wrote a few original poems, but is known
mainly for his excellent translation of Tasso's Aminia. He
too succumbed to Gongorism at times. The few poems of
Francisco de RiojA (i586?-i659) are famous for the purity
of their style and their tender melancholy tone. A little
apart is Esteban Manuel de Villegas (1589-1669), an
admirer of the Argensolas, "en versos cortos divino, in-
Bufrible en los mayores," who is known for his attempts
in Latin meters and his successful imitations of Anacreon
and Catullus.
The lyrics of Ca3J)er6n (1600-1681) are to be found
mosdy in his comediai and autos. There are passages
which display great gifts in the realm of pure poetry, but
too often they are marred by the impertinent metaphors
characteristic of cidteranismo.
His name closes the most brilliant era of Spanish letters.
The decline of literature followed dose upon that of the
political power of Spain. The splendid empire of Charles V
bad sunk, from causes inherent in the pohcies of that ovcr-
ajnbitious monarch, through the somber bigotry of Philip II,
the ineptitude of Philip III, the frivoUty of Phihp IV, to the
imbecihty of Charles II; and the death of the last of the
Hapsburg rulers in ijoo left Spain in a deplorably enfeebled
condition physically and intellectually. The War of the
Succession (1701-1714) exhausted her internal strength still
more, and the final acknowledgment of Philip V (reigned
1701-1746) brought hardly any blessing but that of peace.
Under these circumstances poetry could not thrive; and in
truth the eighteenth century in Spain is an age devoted
more to the discussion of the principles of literature than
to the production of it. At first the decadent n
(
INTRODUCTION XXVU
r.die siglo de oro still survived, but later the French taste,
•■following the principles formulated by Boileau, prevailed '
almost entirely. The history of Spanish poetry in the
eighteenth century is a history of the struggle between
these two forces and ends in the triumph of the latter.
The effects of Gongorism lasted long in Spain, which,
with its innate propensity to bombast, was more fertile soil
for it than other nations. Innumerable poetasters of the
early eighteenth century enjoyed fame in their day and
some possessed talent; but the obscure and trivial style of
the age from which they could not free themselves deprived
them of any chance of enduring fame. One may mention,
as the least unworthy, Gabriel .4ivarez dc Toledo (1662- '
1714) and Eugenio Gcrardo Lobo (1679-1750).
Some one has said that the poetry of Spain, with the
exception of the rmnances and the drama of the siglo de oro,
has always drawn its inspiration from some other country.
Add to the exceptions the medieval epic and the statement
would be close to the truth. First Provence through the
medium of Galicia; then Italy and with it ancient Rome;
and lastly France and England, on more than one occasion,
have molded Spanish poetry. The power of the French
classical literature, soon dominant in Europe, could not
long be stayed by the Pyrenees; and Pope, Thomson and
Young were also much admired. Phihp V, a Frenchman,
did not endeavor to crush the native spirit in his new home,
but his influence could not but be felt. He established a
Spanish .'\cademy on the model of the French in 1714.
It was some time before the reaction, based on common
sense and confined to the intellectuals, could take deep root,
and, as was natural, it went too far and condemned much of
XSVUl INTRODlrCTION
the siglo de oro entire. The Diario de las Uteratos, a journal
of criticism founded in 1737, and the Poilica of Ignacio de
Luz&n, published in the same year, struck the lirst power-
ful blows. LuzSii (1702-1754) followed in general the pre-
cepts of Boileau, though he was able to praise some of the
good points in the Spanish tradition. His own poems are
frigid. The Sdlira amtra las malos escriiores de su liempo
{1742) of Jorge Pitillas (pseudonym of Josf Gerardo de
HervSs, d. 1742) was an imitation of Boileau which had
great effect. Bias Antonio Nasatrc (1689-1751), Agustfn
Montiano (1697-1765) and Luis Jose Veldzqucz (1722-
1772) were critics who, unable to compose meritorious
plays or verse themselves, cut to pieces the great figures
of the preceding age.
Needless to say, the GaUicizers were vigorously opposed,
but so poor were the original productions of the defenders
of the national manner that their side was necessarily the
losing one. Vicente Garda de la Huerta (1734-1787) was
its most vehement partisan, but he is remembered only for
a tragedy, Rcujud.
Thus it is seen that during a century of social and indus-
trial depression Spain did not produce a poet worthy of the
name. The condition of the nation was sensibly bettered
under Charles III (reigned 1759-1788) who did what was
possible to reorganize the state and curb the stifling domina-
tion of the Roman Church and its agents the Jesuits and
the Inquisition. The Benedictine Feii6o (1675-1764) la-
bored faithfully to inoculate Spain, far behind the rest of
Europe, with an inkUng of recent scientific discoveries.
And the budding prosperity, however deceitful it proved,
was reflected in a more promising literary generation.
{
INTRODUCTrON
Nicolds FernAndez de MoratLn {1737-1780) followed
B French rules in theory and wrote a few mediocre plays
1 accordance with them; but he showed that at heart he
a good poet and a good Spaniard by his ode A Pedro
I, torero insigne, some romances and his famous ^hih-
r, the Fiesta de loros eti Madrid. Other followers of the
a genre not, strictly speaking, lyric at all, were
: two fabulists, Samaniego and Iriarte. F. Maria de
lEGO (1745-1801) gave to the traditional stock of
apologues, as developed by Phaedrua, Lokmln and La Fon-
taine, a permanent and popular Caslilian form. Tomas de
Iriaxte (i750-I7qi)i a more irritable personage who spent
much time in literary polemics, wrote original fables (Fdbulas
lilerarias, 1781) directed not against the foibles of mankind
in general, but against the world of writers and scholars.
The best work which was done under the classical French
influence, however, is to be found in the writers of the so-
called Salamancan school, which was properly not a school
at all. The poets who are thus classed together, Cadalso,
Diego Gonzalez, Jovellanos, Forner, Mel^ndes Valdfa, Cien-
fuegos, Iglesias, were personal friends thrown together in
the university or town of Salamanca, but they were not
subjected to a uniform literary training and possessed no
similarity of style or aim as did the men of the later Sevillaa
Josfe de Cadaiso {1741-1782), a dashing soldier of great
personal charm killed at the siege of Gibraltar, is some-
times credited with founding the school of Salamanca. He
vas a friend of most of the important writers of his time
1 composed interesting prose satires; his verse (Noches
!, etc.) is not remarkable. Fray Diego GonzAlez
XXX INTRODUCTION
(1733-1794) is one of the masters of idiomatic Castiliati in
the century. He admired Luis de Le6n and imitated him
in paraphrases of the Paahna. The volume of his verse is
small but unsurpassed in surety of taste and evenness of
finish. The Murciilago akvoso has passed into many edi-
tions and become a favorite in Spain. The pure and com-
manding figure of Joveljjvnos {1744-1811) dominated the
whole group which listened to his advice with respect. It
was not always sure, for he led Diego Gonzalez and Melendea
Valdes astray by persuading them to attempt philosophical
poetry instead of the Ughter sort for which they were fitted.
He was in fact a greater man than poet, but his satires and
Epistoia al duque de Veragua are strong and dignified.
Juan Melendez Vald£s (1754-1817) was on the con-
trary a greater poet than man. Brilliant from the first, he
was petted by Cadalso and Jovellanos who strove to de-
velop his talent. In 1780 he won a prize offered by the
Academy for an eclogue. In 1784 his comedy Las bodas de
Camacho, on a subject suggested by Jovellanos (from an
episode in Don Qtiijote, II, ig-21), won a prize offered by
the city of Madrid, but failed on the stage. His first volume
of poems was published in 17S5; later editions appeared in
1797 and iSzo. He attached himself to the French party
at the time of the invasion in 1808, incurred great popular
odium and died in France. He is the most fluent, imagina-
tive poel of the eighteenth century and is especially success-
ful in the pastoral and anacreontic styles. Fresh descriptions
of nature, enchanting pictures of love, form an oasis in an age
of studied reasonableness. His language has been criticized
for its Gallicisms. Jose Iglesias de la Casa (1748-1701),
a native of Salamanca and a priest, wrote much fight satin-
INTRODUCTION
■, epigrams, parodies and ietrUlas in racy Castilian;
he was less successful in tlie graver forms. Nicasio Alvarez
DE CiENFUEGOS (i764-i8og) passes as a disciple of Melen-
dez; he was a passionate, uneven writer whose undisci-
plined thought and habit of coining words lead to obscurity.
Politically he opposed the French with unyielding vigor,
barely escaped execution at their hands and died in exile.
The verse of Cienfuegos prepared the way tor Quintana.
Differing from him in clarity and polish are Fr. S&nchez
Barbero (1764-1819) and Leandro F, de Moratin, the
dramatist (i 760-1 S28).
One curious result of rationalistic doctrines was the
"prosaism" into which it led many minor versifiers. These
poetasters, afraid of overstepping the limits of good sense,
tabooed all imagination and described in deliberately proay
lines the most commonplace events. The movement
reached its height at the beginning of the reign of Charles IV
(1788-1808) and produced such efforts as a poem to the
gout, a nature-poem depicting barn-yard sounds, and even
Iriarte's La m&ska (1780), in which one may read in care-
fully constructed silvas the definition of diatonic and chro-
c scales.
rSPANISH LYRIC POETRY OF THE NINETEENTH
CENTURY
Early in the nineteenth century the armies of Napoleon
invaded Spain. There ensued a fierce struggle for the
mastery of the Peninsula, in which the latent strength and
energy of the Spaniards became once more evident. The
r
XZXU INTRODUCTION
French devastated parts of the country, but they brought
with them many new ideas which, together with the sharp-
ness of the coni]ict, served to awaken the Spanish people
from their torpor and to give them a new realization of
national consciousness. During this period of stress and
strife two poets, Quintana and Gallego, urged on and en-
couraged their fellow-countrymen with patriotic songs.
Manuel Jose Quintana (ijja-iSs;) had preeminently
the "gift of martial music," and great was the influence of
his odes Al armamenlo de las provinctas contra los franceses
and A Espana despuis de la revoluci^n de mano. He also
Strengthened the patriotism of his people by his prose Vidas
de espaAoks cHebres (begun in 1806); the Cid, the Great
Captain (Gonzalo de C6rdoba), Pizarro and others of their
kind. In part a follower of the French philosophers of the
eighteenth century, Quintana sang also of humanity and
progress, as in his ode on the invention of printing. In
politics Quintana was a hberal; in religious beliefs, a mate-
riahst. Campoamor has said of Quintana that he sang
not of faith or pleasures, but of duties. His enemies have
accused him of stirring the colonies to revolt by his bitter
sarcasm directed at past and contemporaneous Spanish
rulers, but this is doubdess an exaggeration. It may be
said that except in his best patriotic poems his verses lack
lyric merit and his ideas are wanting in insight and depth;
but his sincerity of purpose was \n the main beyond question
and he occasionally gave expression to striking boldness of
thought and exaltation of feeUng, In technique Quintana
was a follower of the Salamancan school.
The cleric Juan Nicasio Gallego (1777-1853) rivaled
Quintana as a writer of patriotic verses. A liberal in politics
i
i
INTRODUCTION
like Quintaua,, GaJlego also took the side of fais people
against the French invaders ajid against the servile Spanish
rulers. He is best known by the ode El dos dc mayo, in
which he exults over the rising of the Spanish against the
French on the second of May, i8d8; the ode A la dejtnsa de
^..Buenos Aires against the EngUsh; and the elegy A h miterte
I0 la duquesa de Frias in which he shows that he is capable
[ deep feeling. Gallego was a close friend of Quintana,
diose salon in Madrid he frequented. Gallego wrote little,
t his works are more correct in language and style than
; of QuinianiL. It is interesting that although the
Titings of these two poets evince a profound dishke and
distrust of the French, yet both were in their art largely
dominated by the influence of French neo-c!assicLsm. This
is but another illustration of the relative conservatism of
belles-lettres.
In the year 179^ there had been formed in Seville by a
group of young writers an .\cademia de Letras Humanas
to foster the cultivation of letters. The members of this
idcmy were admirers of Herrera, the Spanish Petrardiiat
Ind patriotic poet of the sixteenth century, and they strove
1 continuation of the tradition of the earlier SeviUan
The more important writers of the later Sevillan
were Arjona, Blanco, Lista and Reinoso. Manuel
Haifa de Arjona (rjji-iSao), a priest well read in the
Greek and Latin classics, was an imitator of Horace. Josfi
Maria Blanco {i7;5-i84r), known in the history of English
literature as Blanco White, spent much time in England
ind wrote in English as well as in Castilian. Ordavited a
Sitholic priest he later became an Unitarian, The best-
rewn and most influential writer of the group was Albertoj
I
XXXIV INTRODUCTION
LiSTA (1775-1848), an educator and later canon of Seville.
Lista was a skilful artist and like Arjona an admirer and
imitator of Horace; but his ideas lacked depth. His best-
known poem is probably a religious one, A la muerte de
Jesus, wliich abounds in true poetic feeling. Lista exerted
great influence as a teacher and his Lecciones de lileralwa
espanola did much to stimulate the study of 5p>anish letters.
F61ix Jos6 Reinoso (1772-1814), also a priest, imitated
Milton in octavo rima. As a whole the influence of the
SeviUan school was heaithful. By insisting upon purity of
diction and regularity in versification, the members of the
school helped somewhat to restrain the license and improve
the bad taste prevailing in the Spanish UteraCure of the time.
The Catalonian Manuel de Cabanyes (1808-1833) remained
unaffected by the warring literary schools and followed
with passionate enthusiasm the precepts of the ancients
and particularly of Horace.
In the third decade of the nineteenth century romanti-
cism, with its revolt agamst the restrictions of classicism,
with its free play of imagination and emotion, and with
lyricism as its predominant note, flowed freely into Spain
from England and France. Spain had remained preemi-
nently the home of romanticism when France and England
had turned to classicism, and only in the second half of the
eighteenth century had Spanish writers given to classicism
a. reception that was at the best lukewarm. Now roman-
ddsm was welcomed back with open arms, and Spanish
writers turned eagerly for inspiration not only to Chateau-
briand, Victor Hugo and Byron, but also to Lope de Vega
and Calderfin. Spain has always worshiped the past, for
Spain was once great, and the appeal of romanticism was
INTRODUCTION
XXXV
therefore the greater as it drew its material largely from
national sources.
:liib known as the Pamaaillo was formed in
Madrid to spread the new literary theories, much as the
Cenacle had done in Paris. The members of the ParnasiUo
met in a wretched little caffi to avoid public attention.
Here were to be found Breton de los Herreros, Estebanez
Calder6n, Mesonero Romanog, Gil y Zaratc, Ventura dc la
Vega, Espronceda and Larra. The influence of Spanish epic
and dramatic poetry had been important in stimulating the
growth of romanticism in England, Germany and France.
In England, Robert Southey translated into English the
poem and the chronicle of the Cid and Sir Walter Scott
published his Vision of Don Roderick; in Germany, Her-
der's translation of some of the Cid romances and the
Schlegel brothers' metrical version of Calder6n's dramas
had called attention to the merit of the earlier Spanish
hlerature; and in France, Abel Hugo translated into
French the Romancero and his brother Victor made
Spanish subjects popular with Hemani and Ruy Bias and
the Ligendes des sticks. But Spain, under the despotism
of Ferdinand VII, the "Tyrant of Literature," remained
apparently indifferent or even hostile to its own wonderful
creations, and clung outwardly to French neo-classicism.'
Bahl von Faber,' the German consul at Cadiz, who was
influenced by the Schlegel brothers, had early called atten-
tion to the merit of the Spanish literature of the Golden Age
and had even had some of Calderon's plays performed at
' Cf. rSpopie custiUttne. Ramfin Mcnfindez Pidal, Paris,
p. 245- J
I
XIXVl INTRODUCTION
Cadiz. And in 1832 Duritn published his epoch-making
Romaniero. In 1833 Ferdinand VII died and the romantic
movement was hastened by the home-coming of a number
□f men who had fled the despotism of the monarch and had
spent some time in England and France, where they had
come into contact with the romanticists of those countries.
Prominent amongst these were Martinez de la Rosa, Antonio
Alcala Galiano, the Duke of Rivas and Espronceda.
In this period of transition one of the first prominent men
of letters to show the efi^ects of romanticism was Francisco
Martinez de la Rosa (1787-1862). Among his earlier
writings are a Poitiai and several odes in honor of the heroes
of the War of Independence against the French. After
his exile in Paris he returned home imbued with romanti-
cism, and his two plays, Canjuraci^n de Venecia (1834) and
Abitt Humeya (1836: it had already been given in French
at Paris in 1830), mark the first public triumph of roman-
ticism in Spain. But Martinez de la Rosa lacked force
and originality and his works merely paved the way for
the greater triumph of the Duke of Rivas. Angel de Saave- .
dra, DiTQUE de Rivas (1701-1865), a liberal noble, insured
the definite triumph of romanticism in Spain by the success-
ful performance of his drama Don Alvaro (1835). At first a
follower of Moratin and Quintana, he turned, after several
years of exile in England, the Isle of Malta and France, to
the new romantic school, and casting off all classical re-
straints soon became the acknowledged leader of the Span-
romanticists. Among his better works are the lyric
Al faro de Malta, the legendary narrative poem Ei mora
pdsilo and his Romances hisidrkos. The Romances are.
more sober in tone and less fantastic, — and it should be
A
INTRODUCTION XXXVU
added, less popular to-day, — than the legends of Zorrilla.
After a tempestuous life the Duke of Rivas settled quietly
into the place of director of the Spanish Academy, which
post he held till his death.
Jose de EsPRONCEnA (1808-1842) was preSminenUy a
disciple of Byron, with Byron's mingling of pessimism and
aspiration, and like him in revolt against the established
order of things in poUtics and social organization. His pas-
sionate outpourings, his briUiant imagery and the music of
his verse give to Espronceda a first place amon^t the
Sf>anish lyrical poets of the nineteenth century. Some of
his shorter lyrics (e.g. Canto i Teresa) are inspired by his
one-time passion for Teresa with whom after her marriage
to another he elopied from London to Paris. The poet's
best known longer works are the Diablo mundo and the •
Estudiante de Salamanca, which are largely made up of
detached lyrics in which the subjective note is strikingly
prominent. Espronceda was one of those fortunate tew
who shine in the world of letters although they work little.
Both in lyric mastery and in his spirit of revolt, Espronceda
holds the place ia Spanish literature that is held in English
by Byron. He is the chief Spanish exponent of a great
revolutionary movement that swept over the world of
letters in the first half of the nineteenth century.
Jos£ Zorrilla (1817-1893) first won fame by the reading
of an elegy at the burial of Larra. Zorrilla was a most
proUfic and spontaneous writer of verses, much of which is
unfinished in form and deficient in philosophical insight.
But in spite of his carelessness and shallowness he rivaled
Espronceda in popularity. His verses are not seldom melo-
dramatic or childish, but they are rich in coloring and poetic
I
XXXVIU INTRODUCTION
fancy and they fonn a vast enchanted world in which the
Spaniards still delight to wander. His versions of old
Spanish legends are douhtless his most enduring work and
their appeal to Spanish patriotism is not less potent to-day
than when they were written. Zorrilla's dramatic works were
successful on the stage by reason of their primitive vigor,
especially Don Juan Tciwrio, El Zapaiero y el rey and Traidor,
inconfeso y mdrlir. This "fantastic and legendary poet" went
to Mexico in 1854 and he remained there several years.
After that date he wrote Lttle and the Uttle lacked merit,
Gertrudia Gomez dc Avellaneda (1814-1873) was born in
Cuba but spent most of her life in Spain. Avellaneda was a
graceful writer of lyrics in which there was feeling and melody
but little depth of thought. With her the moving impulse
was love, both human and divine. Her first volume of poems
(1841) probably contains her best work. Her novels Sab and
EsPatoUno were popular in their day but are now fallen into
oblivion. Some of her plays, especially Baltasar and Munio,
do not lack merit. Avellaneda is recognized as the foremost
poet amongst the women of nineteenth-century Spain.
Two of the most successful dramatists of this period,
Garcia Gutierrez and Hartzenbusch, were also lyric poets.
Antonio Garcia GtmERREZ (1813-1884), the author of
El Irovador, published two volumes of mediocre verses.
Juan Eugenio Hartzenbusch (1806-1880) was, hke Fem^n
Caballero, the child of a German father and a Spanish
mother. Though an eminent scholar and critic, he did not
hesitate in his Amanies de T cruel to play to the popular
passion for sentimentality. He produced some lyric verse
of worth, Manuel Breton de los Herkeros (1796-1873)
was primarily a humorist and satirist, who turned from
J
INTROUUCTfON
lyric verse lo drama as his best medium of expression. He
delighted in holding up to ridicule the excesses of roman-
ticism. Mention should be made here of two poets who
had been, like Espronceda, pupils of Alberto Lista. The
eclectic poet Marques de Molins {Mariano Roca de
Togores: 1812-1889) wrote passively in all the literary
genres of his time. Ve\tuka de la Vega (1807-1865)
was bom in Argentina, but came to Spain at an early age.
He was a well-balanced, cautious writer of mediocre- verses
that are rather neo-cJassic than romantic.
A marked reaction against the grandiose esaggerations
of later romanticism appears in the works of Jose Selgas y
Carrasco (1824-1882}, a clever writer of simple, sentimental
verses. At one time his poetry was highly prabed and
widely read, but for the most part it is to-day censured as
severely as it was once praised. Among the contemporaries
of Selgas were the writer of simple verses and one-time
popular tales, Antonio de TRin:BA (1821-1889) and Eduardo
BusTHXO, the author of Las cuatro esiaciones and El ciego
de Buenavisla. Somewhat of the tradition of the SeviUan
school persisted in the verses of Manuel CaSete and
Nardso Campillo (1838-1900) and in those of the poet and
literary critic JosS Amador de los Rfos.
The Sevillan Gustavo Adolfo Becqueh (1836-1870) wrote
perhaps the most highly polished Spanish verse of the nine-
teenth century. His Rimas are charged with true poeric
fancy and the sweetest melody, but the many invctsions of
word-order that were used to attain to perfection of metrical
fotm detract not a httle from their charm. His writings
[ are contained in three small volumes in which are found,
ether with the Rimas, a collection of prose legends. His
d INTRODUCTION
prose worit is filled with morbid mysticism or fairy-like
mystery. His dreamy prose is often compared to that of
Hoffmami and his verses to those of Heine, although it is
doubtful if he was largely influenced by either of these
German writers. B^cqucr sings primarily of idealized hu-
man love. His material life was wretched and it would
seem that his spirit took flight into an enchanted land of its
own creation. Most human beings love to forget at times
their sordid surroundings and wander in dreamland; hence
the enduring popularity of Becquer's works and especially
of the Rimas. B6cquer has been widely imitated throughout
the Spanish-speaking world, but with little success. In this
connection it should be noted that the Spanish poets who
have most influenced the Spanish literature of the nine-
teenth centmy, both in the Peninsula and in America, are
the Tyrtaean pwet Quintana, the two leading romanticists
Espronceda and Zorrilla and the mystic Becquer.
Like most writers in Latin lands, Juan Valera y Alcala
Galiano (1824-1905) and Marcelino Menendez v Pelayo
(1856-1Q12) began their Uterary career with a volume or two
of lyric verses. \'alera's verses have perfect metrical form
and evince high scholarship, but they are too learned to be
popular. The lyrics of Menendez y Pelayo have also more
merit in form than in inspiration and are lacking in human
interest. Both authors turned soon to more congenial
work: Valera became the most versatile and polished of aD
nineteenth century Spanish writers of essays and novels;
and Menendez y Pelayo became Spain's greatest scholar in
literary history. The popular noveUst, Pedro Antonio de
Alarcon (iSjj-iSgi), wrote lyrics in which there is a
curious blending of humor and skepticism.
INTRODUCTION
xU
The foremost Spanish poet of the dosing years of the
leteenth ccatuty was Ramon de Campoamor y Campo-
) (1817-1901) who is recognized as the initiator in
Q of a new type of verse in his Dolaras and Fequenos
The doloras are, for the most part, metrical fables
r epigrams, dramatic or anecdotal in form, in which the
tathor unites lightness of touch with depth of feehng. The
ma is merely an enlarged dotora, Campoamor
diked Byron and he disliked stU! more the sonorous emjj-
j that is charactcrbtic of too much Spanish poetry.'
1 philosophy he revered Thomas a. Kempis; in form he
mciseness and directness rather than at artistic
rfection. His poetry lacks enthusiasm and coloring, but
it has dramatic interest.
The poets Manuel del Pal.4Cio (1832-1895) and Federico
r (1831-1905), though quite unlike in genius, woo the
1 of their contemporaries. Palado wrote excellent
mets and epigrams. In his Leyendas y paemas he proved
i mastery of Spanish diction; he had, moreover, the sav-
■fog grace of humor which was so noticeably lacking in Zor-
's legends. The poet and Uterary critic, Balart, achieved
e with his Dolores, in which he mourns with sincere grief
; death of his beloved wife. Mention shoiUd also be
e of the following poets who deserve recognition in this
mef reyiew of the history of Spanish lyric poetry: Vicente
(lirenceslao Querol (1836-1889), a Valencian, whose Ei
■; Cartas d Maria, and La fiesta de Venus, evince a
larkabte technical skill and an unusual correctness of dic-
.. f.E
v)says
"Al fin
Xlfl INTRODUCTION
tion; Teodoro Llorente (cf. p. 379); Jos6 Galiano AlcalA
whose verses have delicate feeling and lively imagination;
Emilio Ferrahi (b. 1853), the author of Abdardo i Bipatia
and AspiracidH; the pessimistic poets, Joaqufn Maria de
Bartrina (1850-1880) and Gabino Tejado; Salvador Riteda
(b. 1857), author of En bloi/ue, En iropd and Cantos de la
vendimia; and the poet and dramatist, Eduardo Makquina.
After the death of Campoamor in the first year of the
twentieth century, the title of doyen of Spanish letters fell
by universal acclaim to Caspar NufiEz de Asce (1834-
1903). Nljnez de Arce was a lyric poet, a dramatist and a
writer of polemics, but first of all a man of action. With
him the solution of political and sociological problems was
all-important, and his literary writings were mostly the
expression of his sociological and political views. Nunez de
Arce is best known for his GrUos del cornbale (1875), in which
he sings of liberty but opposes anarchy with energy and
courage. As a satirist he attacks the excesses of radjcalism
as well as the vices and foibles common to mankind.' As
a poet he is neither original nor imaginative, and often his
ideas are unduly limited; but he writes with a manly vigor
that is rare amongst Spanish lyric poets, most of whom have
given first place to the splendors of rhetoric.
Most writers on the Iiistory of European Uteratures have
I Speabini! o( Niifies de Arce'a satire. Juan Valera says humorously,
ia Phrilegio dt poeslai casleUanas del iiglo X/X, Madrid, i^oj, Vol. I,
p. 347: nEatli cl poela tan enojado contra la sociedad, contra nuestra
ifin y contra loa crfmenes y maldades de ahora, y
nos (»nla tan pervereo, Ian vidoso y Ian infeliz al hombre de nuestros
dfaa, atonnentodo por dudas, remordiniientos, codidas y atras vilra
er, lejos de avergonzarseeste hombre de descender del
mono quicn se avergonzara de haberse humanado.t
INTRODnCTION
xliii
called attention to the fact that at the beEuining of the
nineteenth century there was a great outpouring of lyricism,
which infused itself into prose as well as verse. When this
movement had exhausted itself there came by inevitable
reaction a period of materialism, when realism succeeded
romanticism and prose fiction largely replaced verse. And
now sociological and pseudo-scientific writings threaten the
very existence of idealistic literature. And yet through it
all there has been no dearth of poets. Browning in England
and Campoamor in Spain, hke many before them, have
given metrical form to the expression of their philosophical
views. And other poets, who had an intuitive aversion to
science, have taken refuge in pure idealism and have created
worlds after their own liking. To-day prose is recognized
as the best medium for the promulgation of scientific or
political teachings, and those who are by nature poets are
turning to art for art's sake. Poetry is less didactic than
formerly, and it is none the less beautiful and inspiring.
The Notes to this volume contain historical sketches of
the literatures of Argentina {p. 279), Colombia (p. 385), Cuba
(p. 2(>i), Ecuador and Peru (p. 296), Mexico {p. 307), and
Venezuela (p. 315). It is to be regretted that lack of space
has excluded an account of the literatures of other Spanish-
American countries, and especially of Chile and Uruguay.
ni
SP.\NISH VERSIFICATION
ihveisification is subject to the following general laws:
) There must be a harmonious flow of syllables, in
k harsh combinations of sounds are avoided. This
xliv INTRODUCTION
usually requires that stressed syllables be separated by one
or more unstressed syllables.'
(2) Verse must be divided into phrases, each of which can
be uttered easily as one breath-group. The phrases are
normally of not less than four nor more than eight sylla-
bles, with arhythmic accent on the nest to the last syllable of
each phrase.' Phrases of a fixed number of syllables must
recur at regular intervals. There may or may not be a
pause at the end of the phrase.
(u) In the ii-syllable binary line the phrases may recur
at irregular intervals. In lines with regular ternary move-
ment phrasing is largely replaced by rhythmic pulsation
(ct. p. Ixx).
(3) There must be rime of final syllables, or final vowels,
recurring at regular intervals.
(o) In some metrical arrangements of foreign origin the
rimes recur at irregular intervals, or there is no rime at all.
See the silva and versos sudtos under Strophes.
rwhether normal Spanish verse has, or ever had, binarv mo\e
ment, with the occasional substitution uf a 'troche' for an
"iambic," or vice-versa, is in dispute.' That is, whether in
Spanish verse, with the usual movement, (1) the alternation of
stressed and unstressed syllables is essential, or Hhelher (2) the
I
INTRODUCTION xlv
mere balancing of certain larger blocks of syllables is sufficient.
For instance, in this line of Luis de Le6n:
ya muestra en esperanza el fnito derto,
is there regular rhjrthmic pulsation, much less marked than in
English verse, doubtless, — but still an easily discernible altema
tion of stressed and unstressed syllables? If so, there must be
secondary stress on es-. Or is ya muestra en esperanza one
block, and el fruto cierto another, with no rhythmic stresses ex-
cept those on -anza and cierto?
The truth seems. to be that symmetry of phrases (the balancing
of large blocks of syllables) is an essential and important part of
modem Spanish versification; but that, in musical verse of the
ordinary type, there is also a subtle and varied binary movement,
while in some recitative verse (notably the dramatic romance
verse) the binary movement is almost or quite negligible.^
* A count of Spanish verses (none from drama), by arbitrarily assum-
ing three contigi^ous atonic syllables to be equal to - - - (with secondary
stress on the middle syllable), gave the following results (cf. Romanic
Review, Vol. Ill, pp. 301-308):
Common syllabic arrangements of 8-sy liable lines:
(i) ^ - ^ - -i - ^ (-) : Esta triste voz of.
(2) - -^ - -^ — - (-) : Llorando dicen asf .
(3) ~ "^ — -^ --(-): Mi cama las duras pefias.
Of 033 lines, 446 (nearly one-half) were in class (i); 257 in class (2);
and igi in class (3). The remaining lines did not belong to any one of
these three classes.
Common syllabic arrangements of 11 -syllable lines:
(i) - ^ - ^ - ^ - ^ - ^ (-): Veris con cuanto amor Uamar porfia.
(2) -^ - -i - - ^ - -i - ^ (-): Cuantas veces el 4ngel me deda.
(3) - — ^ _ ^ _ ^ - ^ (_) : Este matiz que al cielo desaffa.
Of 402 Knes, 216 (slightly more than one-half) were in class (i); 94
were in class (2) ; and 75 in class (3). The remaining Knes did not belong
to any one of these three classes. Note that, in these arrangements of
the 1 1 -syllable lines, the irregularities in rhythm are found only in the
first four syllables.
xlvi INTRODUCTION
Some poets have used at times a quite regular binary m
in Spanish verse; but they have had few or no followers, as the
effect was too monotonous to please the Spanish ear. Thus,
Siempre anllas de la luente
Y enlre ml le llano mfo.
Me entristezcxi de su ausencia,
¥ deseo en su ptesenda
La mSs btlla parecei
(p. 5.i, U- fr-")
The Colombian poet, Jos^ Eusebio Caro, wrote much verse thus,
under the influence of the English poets.
On the other hand, some recent "decadent" poets have written
verses in which the principle of symmetry of phrases, or of a
fixed number of syllables, is abandoned, and rhythm and rime
are considered sufficient to make the Uncs musical. Thus,
Leopoldo Lugones (bom 1875?), of Argentina, in verses which he
calls 'libres* (cf. Limario sentimental, Buenos Aires, 1909);
Luna, quiero cantarte
jOh ilustre andana de las mitologtasl
Con todas la£ fuerzas de mi arte.
Dei dad que eti los antiguos d(as
Al poUgloto elugio de las Guias,
Noches senlimentaleG de mises en Italia.
(Jlimno i ta tuna)
This is largely a liarking back to primitive conditions, for in the
oldest Castiiian iiiirraiive verse the rule of "counted syllables" ap-
parently did not prevail. Cf. the Cantar de mio Cid, where there
is great irregularity in the number of syllables. And, although
INTRODUCTION xlvii
in the old romances the half-lines of eight syllables largely predomi-
nate, many are foimd with seven or nine syllables, and some with
even fewer or more. The adoption of the rule of "counted sylla-
bles" in Spanish may have been due to one or more of several
causes: to the influence of medieval Latin rhjrthmic songs; ^ to
French influence; or merely to the development in the Spanish
people of a feeling for artistic symmetry.
Other poets of to-day write verses in which the line contains
a fixed number of syllables or any multiple of that number.
Thus, Julio Sesto {Blanco y Negro, Nov. 5, 191 1):
|C6d90 desembarcan . . ., c6mo desembarcan
esas pobres gentes . . .!
Desde la escalera de la nave todo Nueva York abarcan
de un vistazo: muelles, r!o, casas, puentes . . .
Y despufe que todos sus dnco senddos
ponen asombrados en ver la dudad,
como agradeddos,
miran i la estatua de la Libertad.
{Ella es la Madona, ella es la Madona,
que de la Siberia saca d los esclavos,
que i los regiddas la vida perdona,
y que salva d muchos de contribuyentes, pobres, perseguidoa^
sdbditos y esdavosi . . .
(La iierra prometida)
Spanish poets have often tried to write verses in classical meters
with the substitution of stress for quantity. Thus, Villegas in
the following hexameters:
Seis veces el verde soto coron6 su cabeza
de nardo, de amarillo trebol, de morada viola,
en tanto que d pecho f rio de mi casta Licoris
al rayo dd ruggo mio deshizo su hielo.'
1 Sudias: Stabat Mater dolorosa
Tuxta cruce)n lachrymosa
Dum pendebat filius.
' Apparently trehol instead of trihol. These lines are quoted by
Eugenio Mele, in La poesia barbara in Ispagna, Ban, 1910.
Xlvill INTRODUCTION
Josd Eusebio Caro wrote similar hexameters, and, strange to
say, made alternate lines assonate:
]C6firo r&pido linzate! jrapido emptijame y vivo!
;M&s redondas mis velas pon: del proscrito i los lados,
haz que tus silbos susurren dulces y dulccs suspiren!
]Haz que pronto del patrio suelo se aleje mi barcol
{En alta mar)
The number of these direct imitations is large; but few suc-
ceeded. They are, at best, foreign to the spirit of Castilian
poetry.
In singing Spanish verses two facts are of especial interest:
that, where the rules of prosody require synalepha, hiatus some-
times occurs (especially in opera), thus:
Rec6gete — ese pafiuelo.
(Olmedo, Folk-lore de Costilla, p. 133)
Y el pdjaro — era verde.
(Ledesma, Cancionero salmantino, p. 53)
And that musical accents do not necessarily coincide with syllabic
stresses, even at the end of a phrase. Thus,
jCuantas v^ces. vida mia,
Te asomaras al bakon! 1
jCuerpo bueno, alma divina,
Qu6 de fatigas me cuestas!
jBendiga Dios ese cuerp6,
Tan llenisimo de gracia!
(Hem&ndez, Flores de Espana) 1
1 The grave accent mark C ) indicates a strong musical accent.
INTRODUCTION xHx
SYLLABICATION
In most modem Spanish verse there is a fixed number of
syllables in a line up to and including the last stressed
syllable.^ In counting these syllables consideration must
be given to the following facts:
(i) Syneresis
Within a word two or three contiguous vowels usually
combine to form a diphthong or a triphthong respectively
(this is called "syneresis"): bailie^ rey^ oi\go, ciu\dady
cui\da\dOf es\tu\diarf es\tu\didisj dien\t€y lim\pio, gra\cio\so,
muyy hieriy pue\dey bueyy etc.
Exceptions:
(a) A stressed "weak" vowel (/, u) may not combine
with a "strong" vowel (a, e, 6) to form a diphthong: di\ay
» The number of unstressed syllables at the end of a line is not fixed.
See p. Ivi.
In order to have the correct number of syllables, poets sometimes
(i) shorten a word or (2) shift the accent:
(i) lY &. qu^ mi puro espirtu sucias cames . . .
(Cabanyes, A Cintio)
(2) Puede querer . . .? Ahrale . . .
(Zorrilla, Don Juan Tenorio, la parte, III, 6)
Deben de ser angeles.
(Lope de Vega, El mejor alcalde el rey, II)
Note the artificial separation of lines in some dramatic romance-verse:
. . . Soy un cate-
Cdmeno muy diligente.
(Calder6n, El Josi de las mujeres, H)
De una vil hermana, de un
Falso amigo, de un infame
Criado . . .
(Calder6n, No hay burlas con el amor, III)
I
1 INTRODUCTION
ri\e, }rl\6, Ta\iz, le\i\do, o\{\do, can\ti\nA\a, con\U\nA\e, con\-
ti\na\o, ba\a, sa\U\a, sa\bH\ais, ca.\l\aU, etc."
Exceptions arc rare:
Su|pe I que | ae|rla [ di|cho[so |
(Calderfln, No hay burlas am el amor, HI)
Cf. also rendios, etc., where the a of os combines with
the ( by synalepha.
{b) ud, ud, are usually dissyilabic, except after r, g, and
j: a\du\a\na, sU\a\ve; but cua\lro, san\li\gud, Juan, etc.
Syneresis may occur; stia\oe.
ic) di b usually dissyllabic, except in muy: /fl|i|rfo.
(d) Two unstressed strong vowels, if they follow the
stress, regularly form a diphlhoag; but if they precede Ihcy
may form a diphthong or they may be dissyllabic, usually
at the option of the poet.
Que [ dd I emipilreo en | el | ce|mt | fi|na|ba.'
(p. 180,1. II)
Las I mar|m6|rc«s[. y aus|te|ras [ es|eulltu|ras.
(p. 138,'-^=)
La ] ne|gra ad]ver[si|dad|, con [ fc[rrea | ma|no.
(p. 144, I. 20)
El I tiemlpo enltre | sus | plie|gues | ro|e|do|r«.
(p. 8s, 1. 24)
I Note that in these combinations the weak vowel receives the accent
mark. Some SpaniBh-American poelshavesinned grievously, by reason
of their local pronunciation, in diphlhongiiing a strong vowel with a
fotlouving stressed weak vowel, as inai:, a\laH^, in\da, lor iRa|fE. alla\iiJ
a\t\do. respectively, etc.
I Note that here poetic usage differs from the rules for syllabicaUon
that obtain in prose. Thus, in empireo the i receives the accent mark,
since it ia held to be in the antepenultimate syllable, but in verse mspireo
is regularly trisyllabic.
INTRODUCTION ll
Te I van | i ar|mar | do | ca|e|rds | in|cau|ta.
(p. 40, 1. 24)
La I fe|al|dad | del | vi|cio|; pe|ro hii|y6|se . . .*
(p. 39, 1. 14)
En I tan I frd|gil | rea|li|dad.
(p. 97, 1. 18)
La I sub|li|me | poei'sfja | re|ver{be|ra.
(p. 149, 1. 19)
(e) Two strong vowels, if one is stressed, are usually
dissyllabic:
^a|5e|a, re\cre\oy ca\no\ay etc.
' A|rran|ca a|iTan|ca|, Dios | nif|o,
De I la I menjte | del | po|e|ta
Es|te I pen|sa|mien|to im|pf|o
Que en I un I de|li|rio I cre|6.
(p. 83, 11. 7-10)
iQui I se hi|cie|ron | tus | mu|ros | to|rre|a|dos,
Oh I mi I pajtria | que|ri|da?
£D6n|de | fue|ron | tus | h6|roes | es|for|za|dos,
Tu es|pa|da | no | ven|ci|da?
(p. 78, 11. 1-4)
A|na|cre|on|te, el | vi|no y { la a|le|gri|a.
(p. 150, 1. 4)
Sa[e|ta | que | vo|la|do|ra . . .
(p. 121,1. 15)
De o|ro | la | na|o| ga|di|ta|na a|por|ta.
(p. 39, 1. 24)
Y I no I se es|me|re en | lo|ar|la.
(p. 43, 1. 18)
Don|de i \ ca|er | vol|ve|r4.
(p. 121, 1. 22)
> The ea of fealdad is normally disyllabic by analogy with feo. Cf.
(/) below.
lii INTRODUCTION
Syneresis is rare, but may occur, — except in ^a, io and
<Ja, — provided the second vowel does not receive a rhythmic
accent:
£s|cri|ba|no al { caer | el { sol.
(p. 109, 1. 3)
Caen | es|ta|llaii|do | de | Ids | fuer|tes | gonjces.
(p. 57, 1. 19)
Cual I na|ve | real | en | triun|fo em|pa|vejsa|da.
(p. 40, 1. 15)
(/) In some words vowels that would normally form a
diphthong are usually dissyllabic by analogy with other
forms derived from the same stem: fi\6y fi\6 (cf. fi\o)y ri\dy
ri\e\ron (cf. ri\o), con\ti\nu\i {ci.con\ti\ni4\o)y di\a\rio (cf. di\a)y
hri\o\so (cf. hri\o)y hu\iy hu\i\fnos (cf. hu\yo)y etc.
Syneresis is rare, but possible, as in hrio\so for hri\o\so,
(g) Prefixes, except a-, usually form separate syllables:
pre\in\ser\tOy re\im\pri\miry re\hu\sar; but aho\gar. If the
syllable after a- is stressed, dieresis usually occurs:
A I los I que a|ho|ra a|cla|nia.
(p. 220, 1. 3)
En I la I sub|]i|me | so|Ie|dad | a|ho|ra . . .
(p. 188, 1. 3)
•
(2) Dieresis
By poetic license vowels that normally form one syllable
may often be dissolved into separate syllables (this is called
"dieresis") at the will of the poet: glo\rio\so or glo\fi\o\sOy
rui\do or ru\i\dOy etc.* See also (i), (i, above.
1 Note that the dieresis mark is generally used in dieresis of two weak
vowels, or of strong and weak vowels where the strong vowel is stressed.
INTRODUCTION liii
But dieresis is impossible if the diphthong is ie or ue from
Latin i and o respectively, as in bieriy sienlCy huevo, pucdo.
(3) Synalepha
The final vowel or diphthong of one word and the initial
vowel or diphthong of an inmiediately following word in the
same line usually combine to form one syllable (this is called
" S3malepha ") * as in :
Cuan|do | re|cuer|do | la | piejdad | sin|cc|ra
Con I que en | mi e|dad | pri|mc|ra
£n|tra|ba en | nuesjtras | vie|jas | ca|tc|dra|lcs.
(p. 137, 11. 19-21)
La I cien|cia au|daz|, cuan|do | dc | ti | se a|lc|ja.
(p. 143, 1. 16)
i£s|ta es I £s|pa|fia! A|t6|m|ta y | mal|tre|cha . . .
(p. 147, 1. 3)
Que I mi | canjtar | so|no|ro
A|com|pa|fi6 hasjta a|quf|; no a|pri|sio|na|do . . .
(p. 49, U. 6-7)
The vowels of three words may thus combine if the
middle word is a (or ha) (see also (4), a):
Le I di|jo 6s|te k u|na | mu|jer.
(p. 79, 1- 15)
Sal|va k es|ta | so|cie|dad | des|ven|tu|ra|da.
(p. 143,1. 12)
» Note that the union of vowels in separate words is called synalepha,
while the union of vowels within a word is called synercsis. But syn-
alepha may occur in combinations of vowels in which syncrcsis would
be impossible. Compare te\ni\a and ca\no\a with:
A|s{ al I manjcejbo in|te|rrum|pe (p. 04, 1. 13)*
Ni I la I mijralda j que | lanlz6 al | sos|la|yo'(p. azg, I, 8).
liv INTRODUCTION
(4) Hiatus
(a) Hiatus (i.e. the final vowel of one word and the
initiaJ vowel of the immediately following word form sep-
arate syllables)' is caused by the interposition of a weak
unstressed vowel, as in:
En I sus [ re|cuer[dos | de [ tiel.
(p. 84, 1- ■;)
De I sus I i|klmo5 { y | huer[tos.
(p. 91, 1.8) ■
Vhoy|en|sus|eanjte|res|lMra.
(p. 84, 1. 18)
Note that, similarly, the vowels of three words may not
combine, if the middle word is y, S (or he), 6 (or oh). A:
0|las I de | pla|ta y j a|zul.
(P- 7i, 1. 12)
Que I la al|raa | no|che | 6 el | bri|IIan|te | dl|a.
(p. 180, [. 20}
jQui£n I cal|ma|r4, | jOh Es[pa[na! [ tus | pe|sa|res?
(p- 79, !■ 7)
And in all such expressions as: o|cw|,!d ^ [ »|rr(|/ajifo,
Se\m\Ua \ H O\vie\do, etc.
Except when a vowel is repeated:
Si he es|cu|chaldo | cuan|do ha|bla|bas.
(Calder6n, No hay burlas am el amor, UI)
In modem Spanish, h, being silent, has no effect, but in older
Spanish, h for Latin /, being then pronounced, prevented syna-
lepha, as in: Por | el | mra | e|ra | de | nia|yo
cua„|do|ha|ce|la|ca|lot.
words is equivalent ti
J
INTRODUCTION Iv
Hiatus was common in Old Spanish, except when the first of two
words was the definite article, a personal pronoun-object or the
preposition de; or when the vowels were the same.
(fi) Hiatus is usual when the initial vowel of the second
word has a strong accent (usually the rhythmic accent at
the end of a line or phrase) :
Pues I en I fin I me I de|j6 | una (Calder6n).
Ta|les I fuejron | ya | 6s|tos | cual | herlmojso (Hcrrcra).
Tal I de I lo I al|to | tem|pes|tad | des|he|cha (Maury).
No hay | pla|ce|res | en | su | al | ma.
(p. 85, 1. 4)
Cuan|do [ po|bre | de | a|nos | y | pe|sa|res
(p. 221, 1. 9)
Con|ti|go I se I fu6 I mi I honjra.
(p. 103, 1. 19)
De I gra|na|das | es|pi|gas|; t(i | la | u|va . . .
(p. 215, 1. 5)
Por|que es | pa|ra el | ser | que | a|ma.
(p. 84, 1. 9)
Muy I m&s \ her|mo|sa | la | ha|llan
(p. 44, 1. 5)
£1 1 ne|va|do | cuejllo | aljza
(p. 43, 1. 4)
Porjque | tam|bi6n | e|ra| u|so.
(p. 115,1.9)
Que en I la I bojca, y | s6|lo | u|no.
(p. 52, 1. 26)
Genjte en | es|te | monjte | anjda . . .
Ya I que | de | tu | visjta | hu|ye.
(Calder6n)
Gi|gan|te | o|la| que el | vien|to . . }
(p. 121, 1. 23)
1 Synalepha is usually to be avoided when it would bring together
two stressed syllables as in giganU ola, querido hijo, etc
Ivi INTRODUCTION
But synalepha is possible (especially oi de a-):
To|do e|Ie|va|ba | mi &|iii|mo in|tran|qui|Io.
(p. 139, 1. 22)
Yo I le I da|r6|; mas | no en | el | ar|pa | de o|ro . . .
(p. 49, 1. 5)
And synalepha is the rule, if stress on. the initial syllable
is weak: ^ ^^^^^ j per|so|na en | Ma|drid.
(p. 36, 1. 19)
To|da|, to|da e|res | per|fec|ta.
(p. 44, 1. 22)
If the vowels are the same, they usually combine into one:
Del I sol I en I la aljta | cum|bre
(p. 49, 1. 13)
Temjblar | en | tor|no | de §I| : im | arjco in|men|so . . .
(p. 180, 1. 10)
(5) Final Syllables
In estimating the number of syllables in a Spanish verse-
line one final unstressed syllable after the last stressed
syllable is counted whether it be present or not; or, if there
be two unstressed syllables at the end of the line, only one
is counted.^ Thus the following are considered 8-syllable
lines although, in fact, one line has nine syllables and
another has only seven:
La I sal|pi|ca | con | es|com|bros
De I cas|ti|llos | y | de al|cd|za|res . . .
Pa|ra | voI|ver | d | bro|tar . . .
* In Spanish, a word stressed on the final syllable is called
agudo; a word with one syllable after the stress is called grave or
llano; one with two syllables after the stress, esdrHjulo: farol, plutna,
pdjaro.
INTRODUCTION Ivii
This system of counting syllables obtains in Spanish l)o<*au.sc
there is one and only one unstressed syllable at the ciul of most
verse-lines. It would, perhaps, be more logical to stop the count
with the last stressed syllable, as the French do. Por instniue,
a Spanish ii-syllable line would be called a "feminine" lo-syl-
lable line by the French; but the French language has only one
vowd (e) that may occur in a final unstressed syllabic, while in
Spanish there are several (A, «, {?, rarely f, //).
RIMK
Spanish poetry may be in rimed verse or in blank verso,
(i) Rimed verse may have "consonance," in which there
is rime of the last stressed vowel and of any consonants and
vowels that may follow in the line, as in:
En las presas
Yo divido
Lo cogido
Por igual:
S6lo quiero
Por riqueza
La belleza
Sin rival,
(p. 75»U-5-i2)
Madre mfa, yo soy nifia;
No se enfade, no me rifta,
Si fiada en su prudencia
Desahogo mi conciencia,
(p. 51, 11. 10-13)
jCudn solitaria la nad6n que un dia
Poblara inmensa gente I
jLa naci6n cuyo imperio se extendla
Del ocaso al oriente !
(p. 76, 11. 19-22)
Iviii INTRODUCTION
;0h t^Ly que duermes en casto ]echo,
De sinsabores ajeno el pecho,
Y d los encantos de la hermosura
Unes las gracias del coraz6n,
Deja el descanso, doncclla pura,
Y oye los ecos de mi canci6n !
(p. 199, 11. 1-6)
•
In a diphthong consisting of a strong and a weak
vowel the weak vowel may be disregarded in rime. Cf.
above: prudencia, conciencia; corazdn, cancidn; igualj rival,
(2) Or rimed verse may have "assonance," in which
there is rime of the last accented vowel and of any final
vowel that may follow in the line, but not of con-
sonants.^
Assonance of alternate lines is the usual rime of the
romances J as in:
Cabellos de mi cabeza
lleganme al corvej6n;
los cabellos de mi barba
por man teles tengo yo:
las Unas de las mis manos
por cuchillo tajador.
(p. 7, 11. 15-20)
Here the assonance is 0.
1 Assonance is rare in popular English verse, but it occurs in some
household rimes; e. g.:
Little Tommy Tucker,
He cried for his supper.
What shaU little Tommy Tucker have for his supper?
Black-eyed beans and bread and butter.
Here the assonance is a-er (final unstressed -er in standard present-
day English represents vocalic r).
INTK<(M>UCTION ILx
iAbenimar, Abenimar,
moro de la moraia,
d dfa que tCi naciste
gnndes yft^l^ habfa!
EsUba la mar en calma,
la luna estaba crecida:
moro que en tal signo nace,
no debe decir mentira.
(p. I, U. 1-8)
Here tbe assonance is i-a}
Del sal6n en el dngulo obscuro,
De su dueno tal vez ol\ndada,
Silenciosa y cubierta dc polvo
Veiase el arpa.
jCudnta nota dormfa en sus cuerdus,
Como el pdjaro duerme en las ramas,
£^)erando la mano de nieve
Qu^ sabe arrancarlas !
(p. 122, 11. 12-19)
Her6 the assonance is d-a.
The following rules for assonance should he nolrd:
(o) In modem Spanish a word stressed mi I he jmnl
syllable may not assonate \vilh one stressed on .1 syll.dile
preceding the final. ^
(b) A word stressed on the penult may asson.ite willi one
» Theromances viejos were originally in linrHof appr(»xinw»4rly ,«iixtrrn
syllables, and every line then had assonance.
* In the old romances and in the medieval epic, li ccnihl aHS4)nate wilh
d-a. In ^nging these old verses every line was probably niiidc (o end
in an unstressed vowel by adding paragogic e to a final Htn^MHcd Myliablc.
Thus, son was sung as sone, dar as dare, Uml as temle, etc. Cf. Men. I'd..
AiU. V, 6s; XI, 86, 92; and Men. Pid., Cantar de mto Cid, \, 65 f.
IX INTRODUCTION
stresficd on Ihe auttpenull \owels bttwetii the bliLsstd
sylldble and the final syllablu are disregarded as in cru-it,
cupula {6,-a) baw mdrgenes drabes (d-e)
(f) In stressed diphthongs and triphlhoDgs only the
\0wel3 receiving the stress assonate as in tale aire (a-t)
cabellos suelo (£ a) emohiendo iiposenio (e 0) guardiai
alia (if-a) pUilo stenlo (i-o) mucho Irtunjo {it 0)
(d) In unstressed diphthongs and tnphthongs only the
strong voxels assonate as in li^ba Uuiia (u a) licenaa
qutsu.rais (S-a) pitio conlinuo (1 o) Similarly f or o
before another strong vowei is disregarded m an unstressed
diphthong as in modo errSneo {6-0) crece keroe (e~e)
(e) In final unstressed syllables i and « (not in diph-
thongs) assonate with e and o respectively as in verde
diM {i-e) amante fdcti (S-e) Ifqutdo espinlu (f 6)
(■>,) In Spanish blank verse { vrsos sudtos hbres blancos)
there is usually no rime, or if there be rime it is mtrely
incidental. Blank verse usually consists of ii-syllable lines.
jOh! icuSnlo roslro veo, i. mi censura,
De palidez y de rubor cubierto!
Animo, amigos, nadie tem^, nadic,
Su puneante aguijfin; que yo peraigo
En mi sitira el vido, no al vicioso.
(p. 30, II. 3-7)
BlanL verse is little used in Spanish. It occurs chiefly
in senoua satirical or philosophical poems. But separate
lersos sudtof, are introduced into some varieties of composi-
tions such as the romance, seguidilla, silva, etc'
I The vrrsas sadtos are, with regard to the absence o[ rime, in imita-
tion of classic Greek and Latin verae. They came into Spain by way of
Italy during the Renaissance movement. Abjured by the romanticista,
they were restated to favor by Nline: de Arce,
b
INTRODUCTION' 1x1
VKRSK-MKASURKS
A. Verse with Binary Movement*
In modern Spanish this verse is commonly found in lines
of seven, eight or eleven syllables. It may oaiir in
lines of any length; but in lines of live or six sylla-
bles the binary and ternary movements are j^entTally
mingled. In Old Spanish binar>' lines of a[)[)roximately
8+8 and 7+7 syllables were common, and lines of
64-6, or of nine, syllables were then, as now. also
occasionally used.^
The most popular measure, and the one of most im[X)rtance
in the history of Spanish verse, is the 8 -f 8-syllal)le line
of the old romaficeSy which was later divided into two
8-syllable lines, and became the most common measure in
the drama and in popular songs. This line usually has only
one rhythmic accent, which falls on the seventh syllable.^
Mis arreos son las armas,
mi descanso cl pclear,
mi cama las duras pcnas,
mi (lormir siempre velar
(|). 5,11. 1-4)
» The term "binary" is used here to distinguish ordinary Spanish
verse from that with regular ternary movement. Cf. p. Ixx.
* Verses of three or four syllaljes are best treated as half-lines, with
inner rime {versos leoninos).
' By "rhythmic accent" is meant the musical accent on the last
stressed syllable of a phrase and not syllabic stresses that may occur
within a phrase.
mi introduct:on
Rareiy 8-syIlab!e lines are written with a. fised accent on
the third syllable (cf. p, 51, I- 10 f.).' There is then some-
times pie quebrado in alternate lines, as in:
Hijo mro mucho amado,
Para mientes;
No coQtrastes i las gentes
Mai su gradti.
A ma: € set&s amado;
V podris
Hazer lo que no hards
Desamado.^
Neit to the popular 8-syliable line the most important
measure in modem Spanish verse is that of eleven syllables,
with binary movement, which came to Spain from Italy in
the fifteenth century, and was generally accepted by the
writers of the Siglo de Oro. This ii-syllable line, though
of foreign origin, has held the boards as the chief erudite
measure in Spanish verse for four centuries, and taken all
in all it is the noblest metrical form for serious poems in
modem Spanish. A striking peculiarity of the Une is its
flexibility. It is not divided into hemistichs as were its
predecessors, the i4-syl]able Alexandrine and the 12-syllable
arte mayor verse; but it consists of two phrases and the
position of the inner rhythmic accent is usually variable.
' Nole the ciample of hiatus in this older Spanish.
A vdcBHStiKfiEd bear ^b tirpe (as & xlty^kBiC *x>»l
cm tkc sink swfcbkL or & Ekr^mk ;icin»Lt %tt tfiae h^off^
sjUtitt i^staJtr witk sv&bk stress oa the t(^tK\ Nesack
tkc ■roEssuT accBEt ia tibe tenth (M^ttioiOL GeoeriUy the
■occmt iifeoa tibe sixtk ^-fttb&e aptP^wdnut^h Iwkt'
oftcmas oa tke^ ioazth.
Y cam dK'CfSKS doics va e^mvi^iidi> . . . vl*<^^
Y pan cm%tjt>.aat aoreoefon . . . vC^ikkf^
jsqMiaocBimbot6ahaJliiroii . . . vOOaenSiO
nalmuiidoinaestraspiestendldo . . . v^onilU)
LoSKalljr, the dose of the first phrase^ shuuki coiikkW
with the end of the wofd that recei\>^ the iniier rhvlhmk
accent, and this is usually so, as in:
^Qii6 tcngo yd, | que mi amistad prociiras? . . . U<^^)
Son la veidad y Dids, [ Dios x-erdad^ro . . . (Quc^Nxdo)
But in scHne lines the rhetorical and the rhythmic accents
do not coincide, as in:
. . . pero huydse
£1 pudor d vivir en las cabiftas . . . (Jovellanas)
Del plectro sabiam^te meneido . . . (Le6n)
Que d mi puerta, cubi^to de rodo . . . (Lope)
The ii>syllable line may be used alone. Cf. the sonneta
of Lope de Vega (p. 14) and Calder6n (p. 18), the EphU^a
satirica of Quevedo (p. 15), the blank verse of Jovellanua
(p. 38) and N(inez de Area (p. 144), et al. The neo-daaaic
poets of the eighteenth century and some of the earlier
romanticists even used it in redondillas or assonated:
r
INTRODUCTION
n pago de este amor que, mal mi grado,
!asta el ciiraea me Ueva, en su deiirio,
i no verse por ti menospreciado
[i virtue! elevara hasta el ti
i
,JPor qu^ de nuevo p411da tristeza
Tus rosadas mejillas descolora?
ijPor qu6 tu rostro en ligrimas sc inunda?
jPor quS suspiras, nifia, y te aeongojas?
(Bret6n de los Herreros, ^uUn es eUa!)
But the poets of the Siglo de Oro and the neo-clasaic poets
generally used it in combination with 7-Byllable lines, as in
Leon's verses;
lQu£ descansada vida
la del que huye el mundanal rilido,
y sigue la escondida
senda por donde han ido
los pocos sabios que en el mundo han sido!
Strophes of three 1 1 -syllable lines and one s-syllable line
(versos sdficos) are not uncommon in highly lyric poems.
Usually, in the long lines, the inner accent falls on the
fourth syllable, with syllabic stress on the eighth, and with
cesura after the fifth syllable. Thus:'
Dulce vecino de la verde selva,
Hu&ped etemo del Abril florido.
Vita] aliento de la madre Venus,
Cifiro blando.
(ViUegas, Al Ujiro)
■ Mde [op. cil.) fltates tbat the Sapphic ode was introduced into Spain
from Italy by Antonio Agustin. bishop oF Tarragona, in the first half of
Ihe ajctcenth centuiy, and quotes these linea by Agustln:
IXVI INTRODUCTION
ontics, artistic rmnances, quintillas, etc., in imitation of the
Italian selienario, as in Villegas' Cantilena beginning:
Vo vi sobre vm tomillo
Quejarse un pajarillo,
Viendo su nido amado,
De quien era caudillo,
De un labrador robado.
In present-day songs the 7-syllable line is rather rare, except
in combination with lines of five syllables, as in:
Catnino de Valencia,
Camino largo . . .
And:
A la puerta del delo
Vendea zapatos . . .
In these lines there is no fixed inner rhythmic accent.
The Old Spanish Alexandrine verse-line was composed of
two 7-syllable half-lines. In the thirteenth and fourteenth
centuries numerous monkish narrative poems (ntesl^ de
ckreila) were written in this measure:
En el nonbre del Padre, — que fizo toda rosa,
E de don Jhesu Christo, — Fijo dela Gbriosa,
Et del Spiritu Sanclo, — que egual delloa [Kisa,
De vm confessor sancto — quiero fer vna prosa . . .
(Gonzalo de Berceo)
The old Alexandrine fell before the rising popularity of
the arte mayor verse early in the fifteenth century. In the
!«ghteenth century a ij-syllable Alexandrine appears in
Spanish in imitation of the classic French line. This later
Spaiiish Alexandrine is not composed of two distinct half-
1
INTRODUCTION
Ixvii
lines. It also has, like its French protolype, alternule
couplets of masculine and feminine lines (versos aguths and
versos llanos or graees). Thus, Iriarle;
En derta catedral una uimpana hubla
Que 56b se locaba algdn solfmne din
Con el mis reeio son, con imiisario com|>4s,
Ciiatro golpes 6 trcs solia dar, no mis.
There is an inner rhythmic accent on the sixth syllable.
Iriarte also revived the older Alejwndrinc, but without
Cuando veo yo algunos, — que de otros esccilcircs
— y piensan set autores . . .
Recent poets have revived the old Alexandrine.' Thus,
Rubfin Dario uses it, even retaining the hiatus between
the half-lines; but instead of grouping the lines in qua-
trains with monorime, as the old monks did, he uses asso-
n alternate lines, which is, so far as I know, without
precedent:
Es con voz de la Biblia — 6 verso de Walt Whitman
Que habria que llegar — hasta ti. jcazadorl
Primitive y modemo, — sendllo y cornplicado,
o de WSshington — y mucho de Nemrod . . .
r, 11. 1-4}
Lines of five or six syllables usually have a mingled binary
and ternary movement:
Una barquera
Hall£ bizarra,
De pocoa afios
Y muchas gracias.
(N. Moralin)
is line with ternary roovement, see p. Ixxix.
IXVIU INTRODUCTION
Sal! S las diez
A ver & Clori
(No lo acerlf ) :
Horas menguados
Debe de habet . . .
(L. MoraUn)
Lines of 5 + 5 syllables (versos asdepiadeos) ar
ally written I
Id CQ las alas — del raudo cf firo,
Hiimildes versos, — de las floridas
V^as que diSTano — fecunda el Arias,
Adonde lento ■ — mi patrio rio
Ve los alcizares — de Mantua excclsa.
(L. Moratiii)
The Mexican poet Pesado used the same li
Serenata:
iOh to que duermes — en casto lecho,
De sinsabores — ajeno el pecho,
Y i los encantos - — de la hermosuta
Unes las gracias — del coraz6n,
Deja el descanso, — doncella pura,
Y oye los ecos — de mi canci6n!
(p. .99. II. .-6)
Tliesa
ne measure appears in a patriotic s
En las cabezas ~ £1 proclam6
I^ suspirada — constituci6n,
V enarbolando — mardal pend6Q
Aloslealea — acaudiUfi . . .'
INTRODUCTION Ixix
This lo-syllable measure is cantabile, and its phrases are
too short and too regtdar to make good recitative verse.
Versos alcaicos differ from the asclepiadeos in that the
former have, in a strophe, two lines of 5 -f- 5, one of nine,
and one of ten syllables. Thus, in these lines of Victorio
Giner (who probably introduced this strophe into Spain
in the second half of the nineteenth century) :
Y si los nautas, cantando el pillage.
Con remos hieren y espumas alzan,
Se aduerme d los ecos sus penas
Y d los ecos su batel avanza.
Juan Luis Estelrich (Poesias, 1900) uses versos alcaicos with
the first two lines of each strophe esdrHjulo, in imitation of
Carducci:
Carmen, tu nombre trae al espfritu
Vuelo de.aromas, susurro de drboles,
Los pfos consorcios del cielo,
Y el cantar melodioso del Lacio.
{A Carmen Valera) *
Romances in lines of 6 + 6 (or 6 + 5) syllables occur in
popular Spanish verse, as in the Asturian romance of Don
Bueso, beginning:
Camlna don Bueso — mananita frfa
d tierra de moros — d buscar amiga . . .
(Men. Pel., Ant. X, 56: cf. also Ant. XI, 102)
This measure was also used in endechas, as in Los comenda-
dores de Cdrdoba (fifteenth century), beginning:
jLos comendadores, — por mi mal os vi!
Yo vi d vosotros, — vosotros d mf . . .
» Cf. Mele, op. cU.
INTRODUCTION
The g-syllablc liae was not well received in Spain, and
it has been little used. Iriarte, in his desire to vary the
metrical constructions of his fables, used it at least once:
I
Sobre una mesa, cierto dta.
Dando estaba conver5ad6n
A un Abanico y fi un Manguito
Un Paraguas 6 Quitasol . . ,
There is certainly no fixed inner rhythmic accent in these
lines. The fact seems to be th?t the g-syllable line is too
long to be uttered comfortably in one phrase, or breath-
group, and it is too short to be regularly divided into parts
by cesura.
B. Verse with Ternary Movement
Verse with regular ternary movement may occur in lines
of any length, but it is commoiUy found only in lines of ten,
eleven or twelve syllables. Many ternary lines of five and
six syllables are found, but they arc almost invariably
mingled with binary lines. This rondel antiguo (Nebrija,
quoted by Men, Pel., Ant. V. 66) is ternary throughout,
it would seem:
Dcspidc plazcr
For mixed movements, see the serranUla on p. 45, 1, q f.
In tines with regular ternary movement, properly speak-
ing, every primary stress receives a rhythmic accent, and
INTRODUCTION Ixxi
these accents are always separated by two atonic syllables,
as in:
Yo no s^ cx)mo b^lan aqui,
Que en mi tidrra no b^ilan ansi . . .
Rarely one finds 6-syllable and g-syllable lines with regular
ternary movement, and these are probably never of popular
origin. Thus:
Serena la liina
Aliimbra en el cielo,
Domina en el sudlo
Profiinda quietud . . .
(Espronceda, El reo de muerie, U)
Y ludgo el estrdpito cr^ce
Confi^ y mezcUtdo en un sdn,
Que rdnco en las bdvedas hdndas
TioniUido f uridso zumbd . . .
(Espronceda, Estudianle de Salamanca)
Formerly the Spanish lo-syllable line occurred usually in
combination with other lines, as in:
En la dLlle de Atdcha, ilitdn!
Que vive mi dAma;
Yo me UlUno Bartdlo, jiitdn!
Litdque, vit6que, y * ^lla CatAnla. *
— En la dLlle del Sdrdo, ilitdn!
Que v!ve mi mdzo,
Pues k cu^to le pido, ilit6n!
Litdque, vitdque, que si^mpre esti sdrdo.
(Quinones de Benavente, Entremeses, baiJeSy has y sainetes, quoted
by MiU y Fontanals, Ohras compUtas, Vol. V, p. 324 f.)
* There is hiatus here.
IXXa INTRODUCTION
Calderfin used it in the Viiia del Senor:
A b viiia, 4 la vliia, zagales;
Zagjlles, venid, venid d la vlfia.
A la viAa, i la vIna, zagiles,
Y v5)^ de jira, de bjllla y de bide.
Zagides, venid, venid i la vlna,
Y vaya de baile, de bMa y de jira,
A recent number of the IlustraciSn Espaftola y Amerkana
(is Enero, iqii) contains lines of similar construction by
Don Rafael Torrom6:
Al mirilr au cartta sonrifinte,
Tan dijice y tan buSna,
Siempre observe que mi alma presiSnte,
Con duglo y con p&na,
Que mSa tilrde este milndo inclem^nte
Trocari en sentimidntos de hi^na
Los pilros afdctos de su illma inocente.
Iriarte did not hesitate to write fables in these lO-syllable
lines alone;
De sus hijos ia tflrpe Avetdrda
El pesido volir conocia . . .
And the romanticists of the nineteenth century used it not
infrequently:
Con inrnfivil, irfinica mufea
Indinimn formindo en reddr . . ,
(Espronceda, Est. de Sal.)
Del salSn en el ingulo obscilm,
De su dudfto tal viz olvidida,
Silenddsa y cubi£rta de pfllvo,
VeJase el irpa.
(B&quer, Ritna VII)
iXTRQDrcnoK bam
In the nineteenth centmy this line came to be pnpnljr in
patriotic songs which are song by the mnltitiide, whik the
crash of the drum marks the rhythmic accents:
EntoD^mos festivos cantires,
Pues el dla feBz ha lkgi(k>.
Que del >'ugo servil alhiido
Goza yk el Espaddl Hbertid.
(La ConstUud&n)
Al combite corrM, Bayamtes,
Que la p^tria os contteipla orguUdfa;
No temiis una mu^rte gioridsa.
Que morlr por la ptoia es vivtr.
(Cuban natioDal hymn, c£. p. 251)
The commoner form of verse with ii-syHaUe ternary
lines is that popularly called "<fe gaita gallega" (Men. Pd,,
AfU.j V, p. cxcv; X, 141. Cf. also Mili, op, cU,), the
assimiption being that this verse is intimately related to
that t3rpe of popular (jaJidan poetry known as the muiiieira,
which was stmg to the mu»c of the bagfnpe. These lines
are typical of the ** tndeauUabos de gaUa gaUega*\'
TiUito bail^ & la pu^rta del cikra,
Tinto bail^ que me did calenttkra;
Tinto baild i la pu^rta del b6mo,
Tinto baOd que me di^on un bdDo.^
1 Many Galidan muiHeiras have been collected: cf. Mild, op. cU.;
Carolina Michaelis de Vasconcellos, Cancioneiro de Ajuda, Vol. II,
Halle, 1904; Jos6 P^rez Ballesteros, Cancionero popular gallego, Ma-
drid, 1885.
IXXIV INTRODUCTION
Meaendez y Pelayo (Aitl. X, 141) gives, in his collection
of Romances tradkionales de Asiurias, the following one ia
ternary ii-syllable lines:
La tentaddn
— iAy, probe Xuana dc cutrpo garridol
\Ky, probe Xiiina de cuJrpo gali-no!
jDdnde 1e d&cas aJ til buen a.mIgo?
^Ddnde Ic Ahxss al tA buen atnildo?
— |Mui!rto le ddxo k la ortlla del rio,
mu6rto le d6xo fi la orilla del vado!
— rjCu^nto me dSs, volverStelo vivo?
I Cidnto me dis, volver&telo s4no?
— DdjTe las jlrmas y dfiyte el rocino,
dflyte las innas y d6yte el cabSllo.
— No hh meneslJr ni armfts ni rodno,
no h6 menestf r ni armis ni tabilio . . ,
It should be not d that thi poem has assonance of the odd
and of the ev n hnes M n Pel. says of this popular 11-
syllable roman th t paricion en la poesia popular
casteilana ea n f n n gular, aun en Asturias misma,
y hasta ahora ha. p tado mas ejemplo que 6ste,»
Note the appa nt h f ng f stress in armas. Iriatte and
L. Moratln did not scorn to use this line.
Cierta cri^da la cSsa barrta
C6n ima escdba muy sQcia y muy vi£ja • ■ .
Moratln (in the choms of Padres del Limbo) :
Huyan los Sfios con ripido vu^lo;
Tidce la ti6rra duriblc consufilo;
\lire i los hdmbrea piaddso el Sefl6r . . .
DJTRODUCnOK IxxV
p'^e t i-syllabk line of ternary movement has had less vogue
in artistic verse than those of ten and twelve syllables.'
The Spanish ternary 12-syllable line was formerly used
diieSy in combination with lines of ten or eleven syllables.
Some examples of mingled 10- and 1 2-syllable lines have
L already been given above. Another is:
Manceblto, perddne [as hfmbraa,
Que cdmen y bcben y 116 lienen riotas.
— Pui;s. modtas, miildlla^ scan fXlas.
Q cdsan 6 labren 6 dLiganse mu^rlas.
A song of mingled 11- and 12-syIlabIe lines begins thus:
Al pksar In bkrca, me dijo el barqu^ro:
Mdza boi^ta no ptkga dinero.'
Efforts have been made from time to time to use the
ternary movements in erudite verse, but these, for the jnost
' part, have proven futile. The most serious and the most
successful attempt appears in the use of the copla de arte
' mayor in the fifteenth century. The copla {metro, versos)
I de arte mayor consists of mingled u- and ii-syllable lines
arranged in strophes of eight lines, each with consonantal
I rime according to some definite scheme. The arte mayor
i attained to its most perfect form and its greatest
used B Beiible ij. syllable
^
Ixxvi INTRODUCTION
popularity in H laberinlo de la fortuna (1444?), by Juan
de Mena, of which the following is a strophe:
Amorea me dieron corona de amores
porque mi nombre por mSs bocas ande;
entonces no era mi raal memys grande,
quando me davian placer sus doloresj
venfen el seso sus dulfes errores,
mas non duran sieapre, segund luego plazen;
piles me Ikieron del mal que vos fazcn,
sabed al amor desamar, amadores.
(Strophe 106)
The old arle mayor verse has these distinguishing character-
The line is divided into hemistichs, each of which may
have four, five or six syllables, thus:
(i) {-)---^(-)|(-)---M-),
except that the final syllable of the first hemistich and the
initial syllable of the second may not both be lacking.
These arrangements may also occur (the third is rare) :
(2) (-)---^^-]---^(-)
(3) (-)----! ^(-).
Examples of types:
(i) Las grandes fazafias | de nuestros mayores . . . (Str. 4)
Vayan de gcnte | sabidos en gentc . . . (Str. 3)
Reconocerin | maguer que terote . . . (Str. 274)
Asst que qualqulera | cuerpo ya muerto . . . (Str. 244)
Cuya virtud | maguer que redama . , .
Sufren que passen | males e vi(ios . . . (Str. 232)
(1) E vl 4 Pitfigoras | que defendia . . . (Str. 118)
Bien eomo mfidioo | mucho famoso . . . (Str. 178)
(3) Quando el sefior | es en nejessidad . , . (Str. J58)
INTRODUCTION
Ixsvii
The initial unstressed syllable of the first hemistich is lack-
: in approximately one-third of the lines of the Laberin!).
These lines resemble the ii-syllabk gaita gaUega verse, and
the others resemble the popular Gahcian 12-syllable ternary
line, for in both the final unstressed syllable of the first
hemistich may tall,' which seems to indicate that the ap-
pearance of the arle mayor verse in Castihan was due to
Gahcian influence.
Again, as in many Galician songs of this type, the ternary
movement of the old arte mayor verse is not strictly regular.
Approximately nine-tenths of the lines in the LaherhUo may
be read with regular ternary movement:
by giving a rhythmic accent to a syllable with secondary
stress or to a middle syllable in a group of a
not inconsiderable number of lines, as in:
P6r las alluras, | coUildos y cfirros . . .
Assl que lu eres i la g<lvemad<lra . . .
In the remaining lines the commonest movement
(-)----(-)i(-)-^-M-),
Aquel daro padre, aquel dulce Euente . .
1 CI. these Galidun tauiHeiras, dti»j by Mili y Fontmak (J
IS Os dc tua dam.
I
Ixxviii INTRODUCTION
In the second half of the sixteenth century and in the
seventeenth century, the arte mayor verse was out of fash-
ion, although it appeared occasionally, as in these lines of
Lope de Vega (a variety of the Sapphic strophe), with
Amor poderoso en cielo y en tierra,
duldaima guerra. de nuestros sentidos,
loh, culntos perdidos con vida inquieta
tu imperio sujeta!
(Froin first act of Dorotea)
In the nineteenth century it was restored to favor by the
romanticists.' Good examples are: Espronceda, El tem-
plario; Avellaneda, Las stele palabras; and Zorrilla, A un
torreCn (part). Some writers used it even in the drama
(cf. Gil y Zirate, Gtizmdn el bueno). The modem arte
mayor verse is written in i2-syllable lines, usually with
regular ternary movement. Thus:
jOh Antllla dichdsa! | ,Jqu£ m^cos adnes,
Qu£ liU inef^ble, | qui extraiia alegrta,
Del cielo destiSrran | los nSgras crespfines,
Prestilndo & esta niche | la pflmpa del dJa?
^Por quS tan uf^oa, [ tan b£lla la IClna
Con iiz retulgfnte | comiSnza su giro,
V no hiy leve sfimbra ] que crtlce Emportilna
Su tT6no eamaltido | de plita y zaflro?
(Avellaneda, Serenata de C«ba)
a fable or two in arte mayor verse.
INTRODUCTION
Soldidos, la P^tria | nos Ukma S la 13d;
Jurtmos por Slla | vencfr 6 morir;
Serinos, ai^gres, | valiSntes. os&dos,
Cantfmos, sold^dos, | el hlmno S la Ud :
Ya nu^tros actios | el 6rbc se admire,
Y en adaotros ' mire | los hijos del Cid;
Ya nu^siros aciccos | el Arbe se admire,
Y en nflsotros mire | los hIjos del CM.
{Himno de Riego: cf. p. 242}
Lines of fourteen and fifteen syllables with ternary move-
(■nent are never popular, and in artistic verse they are ex-
■ ceedingly rare. Avellaneda used these measures in Soledad
4 alma:
StLle la aurdra risuflDa, de QSres vestlda,
Dindole al ci(!lo y al ciLmpo vari^do coldr;
T&do se anima sintiScido brotilr nueva \idai
C^tan las fives, y d iLuia suspira de am6r.
Huy^ron veldces — cual nClbes que el vifnto arrebaia —
Los brSves momfintos de dicha que el eielo me difl . . .
^Por qu£ mi existgncia, ya inilLil, su clUso dil&ta,
Si el tirmino ansl^do & su csp^lda perdido dejd?
Some recent poets have attempted to write ternary Alex-
Kuidrine verse. Thus, the Peruvian poet, J096 S. Chocano
Los EsLados Unidos, como argoila de bronce,
contra un clavo sujetan de la America im pie;
y la America debe, si pretende ser libre,
imitarles primero, £ igualarles despues.
which the musical notatioa
IXXX INTKODUCTION
Imitemos joh Musa! las crujicntes cst'^ifas
que en el Norte se arntstian con la gmda de un tren,
y que giren las rimas como ruedaa veloces
y que caigan los versos como vatas de riel.
{La epopeya del Pacljico)
STROPHES
There are certain conventional combinations of line and
rime known by special names. Those used in modern
Spanish may best be considered under the heads (I) As-
sonance, (II) Consonantal Rime, and (III) No Rime.
I. (i) The romance is the most characteristic and na-
tional of all Spanish meters. The proper romance consists
of S-syllable lines with assonance in alternate lines ' [cf.
pp. 1-8, 42, etc.). The structure of the romance line has
already been treated (p. Ixi). In the old romances there
was no division into stanzas, but poets from the end of the
sixteenth century on regularly employ a pause after every
fourth line, thereby creating a series of quatrains (pp. 42,
60, etc.), except in the drama (p. 19).
(i) Alternate assonance may be employed with lines of
any length. With ii-syllable lines the verse is called ro-
mance lieroico or real. Lines of seven syllables make versos
anacrednlkos. The name endecha is given to some asso-
nated verse of either sis (p. 124) or seven syllables. When
the first three lines of a stanza are of seven syllables and the
last of eleven, the verso is called endecha real. For examples
ofaltemate assonance in lines ofvarious lengths, see pp. 122
(2 examples), 123, ijy, i6o, 177,
An estribillo, or refrain, may be used in any assonating
verse (p. 45).
> Historically, o( i6-syllable lines, all assonating.
L
INTRODUCTION
Ixxxi
lines of fourteen
too happy device of the
(3} The use of alternate
syllables (pp. 211, 313} is a
author.
(4) The seguidilla is usually a stanza of seven lines of
seven and five syllables in length, in this order: 7, 5, 7, s;
5, 7, s- There is usually a pause after the fcmrth line; lines
2 and 4 have one assonance and lines 5 and 7 another.
The assonances change tram one stanza to another. See
pp. iiz and 120. In some seguidUlas the stanzas consist
only of the first four lines described.
II. The native Spanish strophes are usually combinations
of 8-syllable or shorter lines. The 1 i-syllable line, itself an
importation from Italy, brought with it many well-known
Italian strophes. In none of the pure Italian forms are
lines ending in agudos or esdrtljitlos jjermissible.
(i) The redondilla mayor consists of four 8-sylluble lines
with the rime-scheme abha (pp. 149, 167), or, less com-
monly, abab (p. 136). It is a common and characteristic
Spanish meter. The redoiuliUa tnenur has the same form
expressed in lines of less than eight syllables. The same
rime-schemes are found with lines of seven or of eleven
(pp. 117, 207) syllables, and with combinati
and seven (p. IJ4), or eleven and five (p.
but they are not properly called redondillas.
. (z) The quinlUla is a 5-line strophe, usually of S-syllable
lines. Only two rimes are used in one stanza, and not more
than two lines having the same rime should stand together
(pp. 26, 114). Quiiititlas are sometimes written with lines
of other lengths. Examples with eleven and seven sylla-
bles are found on pp. 128, 133 and 148. The stanza used in
Vida relirada (p. g) is termed lira: cf. Introduction, p. xxiii.
of eleven
syllables;
^^xxxii
INTRODtrCTION
(3) The dicima (or espinda) is a lo-line strophe of 8-
syllable lines which may be considered as two qumtiUas;
but there should be a pause after the fourth line, and the
rime-scheme is usually as follows; abbaaccddc.
(4) The arte mayor line has akeady been described
(p. brav). The copla de arte mayor is a stimza of eight such
lines, usually having the rime-scheme abbaacca.
(5) The oclava rima (lUl. oUava rima) is an Italian
form. Each stanza has eight ii-syllable lines with the
rime-scheme abababcc. Examples are found of octaves
employing short lines. A variety of the oclava rima is the
octava bermudina with the rime-scheme abbcdeec, the lines
in c ending in agudas.
(6) The sonelo (sonnet) is formed of fourteen ii-syllable
lines. In the Siglo de Ore it appears as a much stricter
form than the English sonnet of the corresponding period.
The quatrains have the regular construction abba, and the
tiercels almost always follow one of two types; either cde,
cde, or cdcdcd. See pp. 14, 18, 148, etc.
(7) Tercelos (Italian ierza rima), the verse used by Dante
in the Diiiina Commedia, are formed of ii-syllable lines in
groups of three, with the rime-scheme aha, bcb, cde, etc.,
ending ys_v3. See p. 15.
(8) The term canci6n, which means any lyrical composi-
tion, is also applied specifically to a verse form in which
the poet invents a typical strophe, with a certain length of
line and order of rimes, and adheres to this type of stanza
throughout the whole poem. The lines are of eleven and
seven syllables, — the Italian structure. Of such nature
are the poems on pp. S, 20, 71, 137 (bottom), 174, 190.
The same procedure is employed with lines of any length,
»
INTRODUCTION
Ixxxiii
but the poem is not then caUcd camidn. For strophes in
lo-syllable lines, see p. 199; in S-syllable lines, pp. 16, 51,
83, 151; in 7-syUables, p. 202.
(g) The iUva is a free composition of 11- and 7-syllable
-lines. Most of the lines rime, but without any fixed order,
and lines are often left unrimed. See pp. 46, 54, 152, 214
(bottom), etc. A similar freely riming poem in lines of
seven syllables is V'illegas' Ciinlilmiii (p. 17).
(10) The Asdepiadqan verse (p. Ixviii) and the Sapphic
(p.'faiv) and Alcaic (p. Isix) strophes have already been
described. These may be rimed, or in blank verse.
(ii) Numerous conventional names are given to poems
for some other characteristic than their metrical structure.
Thus a glosa (gloss) is a poem "beginning with a test, a
line of which enters into each of the stanzas expounding it."
A ktra may be a short gloss. The name letrUla is applied
sometimes to a lilde poem in short Unes which may be set
to music (p. 9), and sometimes to a strophic poem with a
refrain (p. 16). A madrigid is a short silva upon a light
topic, an expanded conceit. The term cantilena is given
to any short piece of verse intended to be set to music
(p. 17). Scrranillas, in which is described the meeting of
a gentleman with a rustic maiden, are famous for the ex-
amples written by Juan Ruiz and the Marquis of Santillana.
A vUlancko is a popular poem with a refrain, usually deal-
ing with an episode celebrated in a church festival (p. 13).
m. Versos suellos, litres or Uancos (blank verse) are
formed, as in English, of ii-syllable lines, with occasion-
' ally a shorter line thrown in. There is no rime, but some-
times a couplet may mark the dose of an idea. See pp. 38
and 144, and cf. also p. k.
!
espaNa
ROMANCES
abenAmar
jAben^mar, Aben£mar,
moro de la moreria,
el dia que tu naciste
grandes senales habia!
Estaba la mar en calma, 5
la luna estaba crecida:
moro que en tal signo nace,
no debe decir mentira. —
Alii respondiera el moro,
bien oirds lo que decia: 10
— Yo te la dire, senor,
aunque me cueste la vida,
porque soy hijo de un moro
y una cristiana cautiva;
siendo yo nifio y muchacho 15
mi madre me lo decia:
que mentira no dijese,
que era grande villania:
por tanto pregunta, rey,
ESPAlf^A
que la verdad te diria.
— Yo te agradezco, Abenamar
aquesa tu cortesia.
^ Que castillos son aqu^llos ?
; Altos son y relucian!
— El Alhambra era, seiior,
y la otra la mezquita;
los otros los Alixares,
labrados £ maravilla.
El moro que los labraba
cien doblas ganaba al dia,
y el dia que no los labra
otras tantas se perdia.
El otro es Generalife,
huerta que par no tenia ;
el otro Torres Bermejas,
Castillo de gran valia. —
Alii habl6 el rey don Juan,
bien oireis lo que decia:
— Si tu quisieses, Granada,
contigo me casaria;
dar^te en arras y dote
d C6rdoba y £ Sevilla.
— Casada soy, rey don Juan,
casada soy, que no viuda;
el moro que d mi me tiene
muy grande bien me queria.
ROMANCES
lo
FONTE-FRIDA
Fonte-frida, fonte-frida,
fonte-frida y con amor,
do todas las avecicas
van tomar consolaci6n,
sino es la tortolica
que est£ viuda y con dolor.
For alii fuera £ pasar
el traidor de ruisenor:
las palabras que le dice
llenas son de traicidn:
— Si tu quisieses, senora,
yo serla tu servidor.
— Vete de ahl, enemigo,
malo, falso, enganador,
que ni poso en ramo verde, 15
ni en prado que tenga flor;
que si el agua hallo clara,
turbia la bebia yo;
que no quiero haber marido,
porque hijos no haya, no: 20
no quiero placer con ellos,
ni menos consolacidn.
jD^jame, triste enemigo,
malo, falso, mal traidor,
que no quiero ser tu amiga, 25
ni casar contigo, no.
4 ESPA5JA
EL CONDE ARNALDOS
iQui^n hubiese tal ventura
sobre las aguas del mar,
como hubo el conde Arnaldos
la manana de San Juan!
5 Con un falc6n en la mano
la caza iba £ cazar,
vi6 venir una galera
que d tierra quiere Uegar.
Las velas traia de seda,
lo la jarcia de un cendal,
marinero que la manda
diciendo viene un cantar
que la mar facia en calma,
los vientos hace amainar,
15 los peces que andan nel hondo
arriba los hace andar,
las aves que andan volando
nel ni^tel las faz posar.
All! fabl6 el conde Arnaldos,
20 bien oir^is lo que dir£:
— Por Dios te ruego, marinero,
digasme ora ese cantar. —
Resf>ondi61e el marinero,
tal respuesta le fu^ £ dar:
— Yo no digo esta canci6n
sino i quien conmigo va.
as
ROMANCES
LA CONSTANCIA
Mis arreos son las armas,
mi descanso el j)elear,
mi cama las duras penas,
mi dormir siempre velar.
Las manidas son escuras, 5
los caminos por usar,
el cielo con sus mudanzas
ha por bien de me danar,
andando de sierra en sierra
por orillas de la mar, 10
por probar si en mi ventura
hay lugar donde avadar.
Pero por vos, mi senora,
todo se ha de comportar.
EL AMANTE DESDICHADO
En los tiempos que me vi 15
mas alegre y placentero,
yo me partiera de Burgos
para ir i Valladolid:
encontr^ con un Palmero,
quien me habl6, y dijo asi: ao
— (jD6nde vas tu, el desdichado?
<j Ddnde vas ? \ triste de ti !
jOh persona desgraciada,
en mal punto teconoci!
Muerta es tu enamorada, s5
6 espaRa
muerta es, que yo la vi;
las andas en que la llevan
de negro las vi cubrir,
los responses que le dicen
5 yo los ayude a decir:
siete condes la lloraban,
caballeros mas de mil,
llorabanla sus doncellas,
llorando dicen asi:
lo — jTriste de aquel caballero
que tal perdida pierde aqui ! —
Desque aquesto oi, mezquino,
en tierra muerto cai,
y por mds de doce horas
IS no tomara, triste, en mi.
Desque hube retornado,
£ la sepultura fui,
con Idgrimas de mis ojos
llorando decfa asi:
20 — Acogeme, mi senora,
acogeme £ par de ti. —
Al cabo de la sepultura
esta triste voz oi:
— Vive, vive, enamorado,
25 vive, pues que yo mori:
Dios te de ventura en armas,
y en amor otro que si,
que el cuerpo come la tierra,
y el alma pena por ti. —
ROMANCES 7
EL PRISIONERO
Por el mes era de mayo
cuando hace la calor,
cuando canta la calandria,
y responde el ruisenor,
cuando los enamorados 5
van £ servir al amor,
sino yo, triste, cuitado,
que vivo en esta prision,
que ni s^ cuando es de dia
ni cuando las noches son, 10
sino por un avecilla
que me cantaba al albor.
Matomela un ballestero,
jd^le Dios mal galardon!
Cabellos de mi cabeza 15
Ueganme al corvejon;
los cabellos de mi barba
por manteles tengo yo:
las unas de las mis manos
por cuchillo tajador. 20
Si lo hacia el buen rey,
h£celo como senor:
si lo hace el carcelero,
hacelo como traidor.
Mas i quidn ahora me di^se 25
un pdjaro hablador,
siquiera fuese calandria.
8 ESPA^A
6 tordico 6 ruisenor:
criado fuese entre damas
y avezado d la razon,
que me Ueve una embajada
- d mi esposa Leonor,
que me envie una empanada,
no de truchas ni salmdn,
sino de una lima sorda
y de un pico tajador:
lo la lima para los hierros,
y el pico para el torredn! —
Oidolo habia el rey,
manddle quitar la prisidn.
DON GIL VICENTE
canciOn
Muy graciosa es la doncella:
15 jcdmo es bella y hermosa!
Digas tu, el marinero
que en las naves vivias,
si la nave 6 la vela 6 la estrella
es tan bella.
20 Digas tu, el caballero
que las armas vestias,
si el caballo 6 las armas 6 la guerra
es tan bella.
Digas tu, el pastorcico
SANTA TERESA
que el ganadico giiardas,
si el ganado 6 los yalles 6 la sierra
es tan bella.
SANTA TERESA DE JESUS
LETRILLA QUE LLEVABA POR REGISTRO EN
SU BREVIARIO
Nada te turbe;
nada te espante; 5
todo se pasa;
Dios no se muda,
la paciencia todo lo alcanza.
Quien d Dios tiene,
nada le falta. 10
Solo Dios basta.
FRAY LUIS DE LE(5N
VIDA RETIRADA
; Qu^ descansada vida
la del qu^uye el mundanal riiido,
y sigue la^scondida
senda por donde han ido 15
los pocos salvos que en el mundo han sidol
Que no le enturbif el pecho
de los soberbios grandes el estado,
lO ESPA5JA
ni del dorado techo
se admira, fabricado
del sabio moro, en jaspes sustentado.
No cura si la fama
5 canta con voz su nombre pregonera,
ni cura si encarama
la lengua lisonjera
lo que condena la verdad sincera.
£ Qu^ presto £ mi contento
lo si soy del vano dedo sefialado ?
si en busca de este viento
ando desalentado
con ansias vivas, y mortal cuidado ?
jOh campo, oh monte, oh rio!
j^ joh secreto seguro deleitoso!
, : roto ca§i el navio,
d vuestrqjilmo reposo
huyo de aqueste mar tempestiioso.
Un no rompido sueno,
20 un dia puro, alegre, libre quiero;
no quiero ver el ceno
.vanamente severo
de quien la sangre ensalza 6 el dinero.
Despiertenme las aves
25 con su cantar suave no aprendido,
no los cuidados graves
de que es siempre seguido
quien al ajeno arbitrio estd, atenido.
Vivir quiero conmigo,
lO
LUIS DE LEON II
gozax quiero del bien que debo al cielo,
£ solas sin testigo,
libre de amor, de celo,
de odio, de esperanzas, de recelo.
Del monte en la ladera
por mi mano plantado tengo un huerto
que con la primavera
de bella flor cubierto
ya muestra en es[)eranza el fruto cierto.
Y come codiciosa
de yer y acrecentar su hermosura,
desde la cumbre airosa
una fontana pura
hasta Uegar corriendo se apresura.
Y luego sosegada i^
el paso entre los drboles torciendo,
el suelo de pasada
de verdura vistiendo,
y con diversas Acres va esparciendo.
El aire el huerto orea, 20
y ofrece mil olores al sentido,
los ^rboles menea
con un manso riiido
que del oro y del cetro pond^lvido.
T^nganse su tesoro 25
los que de un flaco leno se confian:
n(f es mlo ver el Uoro
de los que desconfian
cuando el cierzo y el dbrego porfian.
12 ESPA5}A
La combatida antena
cruje, y en ciega noche^el claro dia
se toma/ al cielo suena
conf usa voceria,
5 y la mar enriquecen d porfla.
A mi una pobrecilla
mesa de amable paz bien abastada
me baste, y la vajilla
de fino oro labrada
lo sea de quien la mar no teme airada.
Y mientras miserable-
mente se estdn los otros abrasando
en sed insaciable
del no durable mando,
15 tendido yo i la sombra este cantando;
A la sombra tendido
de yedra y lauro eterno coronado,
puesto el atento oido
al son dulce acordado
20 del plectro sabiamente meneado.
ANONIMO
A CRISTO CRUCIFICADO
No me mueve, mi Dios, para quererte
El cielo que me tienes prometido,
Ni me mueve el infierrio tan temido
Para dejar por eso de ofenderte.
LOPE DE VEGA 13
Tti me mueves, Seiior; mu^veme el verte
Clavado en una cruz y escarnecido;
Mu^veme ver tu cuerpo tan herido;
Mu^venme tus afrentas y tu muerte.
Mudveme, al fin, tu amor, y en tal manera, 5
Que aunque no hubiera cielo, yo te amara.
Y aunque no hubiera infiemo, te temiera.
No me tienes que dar porque te quiera;
Pues aunque lo que espero no esperara.
Lo mismo que te quiero te quisiera. 10
DON LOPE FfiLIX DE VEGA CARPIO
CANCION DE LA VIRGEN
Pues anddis en las palmas,
Angeles santos,
Que se duerme mi nino,
Tened los ramos.
Palmas de Belen
Que mueven airados
Los furiosos vientos,
Que suenan tanto.
No le hagdis ruido,
Corred mds paso;
Que se duerme mi nino,
Tened los ramos.
El nino divino,
Que esti cansado
15
20
De llorar en ia tierra,
For su descaoso
Sosegar quiere un poco
Del tierno Uanto;
Que se duerme mi nino,
Rigurosos hielos
Le estao cercando,
Ya veis que no lengo
Con que guardarlo:
Angeles di vinos,
Que vais volando,
Que se duerme mi nino,
Tened los ramos.
^Qu^ tengo yo, que mi amistad procuras?
^Qu^ interes se te sigue, Jesus mio,
Que 6. mi puerta, cubierto de rocSo,
Pasas las noches del inviemo escuras?
jOh cuinto fueron mis entranas duras,
Pues no te abri! jQii^ extrano desvario,
Si de mi ingratitud el hieio fno
Seco las liagas de tus plantas puras!
jCuintas veces el Angel me deda:
*Alma, asi5mate agora a la ventana;
Ver£s con cuSnlo amor llamar porfia!'
V jcudntas, hermosura soberana,
J
•Manana le abriremos," respondia!
Para \o miamo responder n
DON FRANCISCO DE QUEVEDO
EPISTOLA SATIRICA V CENSORIA
a, las rostumbres piesentes de los dLstclliLnu;, es
a.[ Conde-Duque de Olivarta
No he de callar, por mas que con el dedo,
Va tocaodo la boca, 6 ya la frente,
Silencio avises 6 amenaces miedo.
|j No ha de haber un espiritu valienle ?
^Siempre se ha de sentir lo que se dice?
^Nunca se ha de decir lo que se siente?
Hoy sin miedo que libre escandalice
Puede hablar el ingenio, asegurado
De que mayor poder le atemorice.
En otros siglos pudo ser pecado
Severo estudio y la verdad desnuda,
Y romper el silencio el bien hablado.
Pues sepa quien lo niega y quien lo duda
Que es tengua la verdad de Dios severo
Y la lengua de Dios nunca fue muda.
Son la verdad y Dios, Dios verdadero:
Ni etemidad divina los scpara,
Ni de los dos alguno fu^ primero.
i6 espaRa
LETRILLA SATIRICA
Poderoso caballero
Es don Dinero.
Madre, yo al oro me humillo:
£l es mi amante y mi amado,
5 Pues de puro enamorado,
De contino anda amarillo;
Que pues, dobldn 6 sencillo,
Hace todo cuanto quiero,
Poderoso caballero
lo Es don Dinerd.
Nace en las Indias honrado,
Donde el mundo le acompana;
Viene i, morir en Espana
Y es en G^nova enterrado.
15 Y pues quien le trae al lado
Es hermoso, aunque sea fiero,
Poderoso caballero
Es don Dinero.
Es galan y es como un oro,
20 Tiene quebrado el color,
Persona de gran valor.
Tan cristiano como moro;
Pues (\ue da y quita el decoro
Y quebranta cualquier fuero,
25 Poderoso caballero
Es don Dinero.
Son sus padres principales
VILLEGAS 17
Y es de nobles descendiente,
Porque en las venas de Oriente
Todas las sangres son reales:
Y pues es quien hace iguales
Al duque y al ganadero,
Poderoso caballero
Es don Dinero.
DON ESTEBAN MANUEL DE VILLEGAS
CANTILENA: DE UN PAJARILLO
Yo vi sobre un tomillo
Quejarse un pajarillo,
Viendo su nido amado, 10
De quien era caudillo,
De un labrador robado.
Vile tan congojado
Por tal atrevimiento
Dar mil que j as al viento, 15
Para que al cielo santo
Lleve su tierno llanto,
Lleve su triste acento.
Ya con triste armonia,
Esforzando el intento, 20
Mil quejas repetia;
Ya cansado callaba,
Y al nuevo sentimiento
i8 espaRa
Ya sonoro volvia.
Ya circular volaba,
Ya rastrero coma,
Ya pues de rama en rama
, Al riislico seguia;
Y saltando en la grama,
Parece que deda :
' Dame, riistico fiero,
, Mi dulce compania";
. Y que le respondla
EI nisticoi 'No quiero.'
DON PEDRO CALDERON DE LA BARCA
Estas que fueron pompa y alegria
Despertando al albor de la manana,
A la larde seran Idstima vana '
Durmiendo en brazos de la noche fria.
Este matiz que al tielo desatla,
Iris listado de oro, nieve y grana,
Sera cscarmieolo de la vida humana:
;Tanto se emprende en tdrmino de un di
A Qorecer las rosas madrugaron,
Y para envejecerse florecicron:
Cuna y sepulcro en un boton hallaron.
Tales los hombres sus fortunas vieron
En un dia nacieron y expiraron;
Que pasados los siglos, horas fueron.
1
calder(5n de la barca
1
CONSEJO DE CRESPO A SU HIJO
■
EL ALCALDE DE ZALAMEA (ll, 2l)
Por la gracia de Dios, Juan,
^^H
Eres de linaje limpio
^^^H
Mds que el sol, pero villano:
^^^^
Lo uno y lo ofro te digo,
^^^1
Aquetio, porque no humillcs
^^^H
Tanto tu orguUo y tu brio,
"^^j
Que dejes, desconfiado,
De aspirar con cuerdo arbitrio
A ser mas; lo otro, porque
No vengas, desvanecido,
lO |l
A ser menos: Igualmenle
i
Usa de entrambos designios
'^
Con humildad ; porque siendo
^1
Humilde, con recto juicio
^1
Acordards lo mejnr;
'S
Y como tal, en olvido
PondrAs cosas que suceden
Al reves en los altivos.
jCudntos, teniendo en el mundo
1
A! gun defecto consigo,
ao |;
Le ban borrado por humildes!
Y ;S ciiantos, que no ban tenido
1,
Defecto, se le ban hallado,
Por estar ellos mal vistos!
Se cort^s sobremanera,
25
1 S^ liberal y csparcido;
20 espaRa
Que el sombrero y el dinero
Son los que hacen los amigos;
Y no vale tanto el oro
Que el sol engendra en el indio
5 Suelo y que conduce el mar,
Como ser uno bienquisto.
No hables mal de las mujeres:
La mds humilde, te digo
Que es digna de estimacion,
lo Porque, al fin, dellas nacimos.
IS
30
FRAY DIEGO GONZALEZ
EL MURClfiLAGO ALEVOSO
INVECTIVA
Estaba Mirta bella
Cierta noche formando en su aposento,
Con gracioso talento,
Una tiema cancion, y porque en ella
Satisfacer a Delio meditaba,
Que de su fe dudaba,
Con vehemente expresidn le encarecia
El fuego que en su casto pecho ardla.
Y estando divertida,
Un murci^lago fiero, jsuerte insana!
Entrd por la ventana;
Mirta dej6 la pluma, sorprendida,
DIEGO GONZALEZ 21
Temid, gimio, dio voces, vino gente;
Y al querer diligente
Ocultar la canci6n, los versos bellos
De borrones Ueno, por recogellos.
Y Delio, noticioso ^
Del caso que en su dano habia pasado,
Justamente enojado
Con el fiero murci^lago alevoso,
Que habia la cancidn interrumpido,
Y d, su Mirta afligido, 10
En colera y furor se consumia,
Y asi d, la ave funesta maldecia:
* Oh monstruo de ave y bruto,
Que cifras lo peor de bruto y ave,
Visidn noctuma grave, 15
Nuevo horror de las sombras, nuevo luto,
De la luz enemigo declarado,
Nuncio desventurado
De la tiniebla y de la noche fria,
<j Qu^ tienes tu que hacer donde estd el dia ? 20
* Tus obras y figura
Maldigan de comun las otras aves,
Que cdnticos sliaves
Tributan cada dia a la alba pura;
Y porque mi ventura interrumpiste, 25
Y d su autor afligiste,
Todo el mal y desastre te suceda
Que d un murcielago vil suceder pueda.
* La lluvia repetida,
Que viene de lo alto airebatada,
Tan s61o reservada
A las noches, se oponga A lu salida;
0 el relampago prnntu relucieiile
Te ciegue y amedrente;
0 soplando del Norte recio el vientu,
No permila un mosquito d tu alimento-
" La duena melmdrosa,
Tras el tapiz do tienes tu manida,
Te j'uzgue, inadvertida,
For telaraiia sucia y as^^uerosa,
Y con la escoba al suelo te derribe;
Y al ver que bulla y vive.
Tan fiera y tan ridicula I'lgura,
Suelte la escoba y liuya con presura.
"V luego sobrevenga
El jugueton gatillo buUicioso,
Y primero medroso
Al verte, se retire y se contenga,
Y bufe y se espeluce hoirorizado,
Y alee el rabo esponjado,
Y el espinazo en arco suba al cielo,
Y con los pies apenas toque el suelo.
»Mas luego recobrado,
Y del primer horror convaletido,
El fwcho al suelo unido,
Traiga el rabo del uno al otro lado,
Y cosido en la tierra, observe atenlo;
Y cada movlmiento
DIEGO GONZALEZ
1
>3 ^
Que en ti llegue i notar su perspicacia,
A
Le provoque al asalto y le de audacia.
V
•En fin sobre ti venga,
^
Te acometa y uitraje sin recelo,
Te arrastre por el suelo,
i
Y d costa de tu dafio se entrelenga;
Y por caso las uiias afiladas
Eq tus alas clavadas,
Por echarte de si con sobresalto,
Te arroje muchas veces a lo alto
lo
• Y acuda i. tus chlUidos
El muchacho, y convoque d sus igualea,
I
Que ton los ani males
\
Suelen ser comlinmente desabridos;
]
Que d todos nos doto naturaleza
'l
IS 1
De entranas de fiereza,
Hasta que ya la edad 6 la cultura
\
Nos dan humanidad y mas cordura.
' Entre con algazara
1
La pueril tropa, al dano prevenida,
so
Y lazada oprimida
Te echen al cuello con fiereza rara;
Y al oirte chillar alcen el grito
Y te Uamen maldito;
Y creygndote al fin del diabio imagen,
'^
Te abominen, te escupan y te ultrajen.
' Luego por las teliilas
De tus alas te claven al posdgo,
Y se burlen contigo.
mi
34
5
■S
ESFARA ^^^^
Y al hocico te apliquen candeliUas,
De tus gestos y acciones,
Y i lus triates querellas ponderadas
Correspondan con fiesta y carcajadas.
« Y todos bien armados
De piedras, de navajas, de aguijones.
De clavos, de punzones,
De palos por los cabos ufilados
(De diversi<5n y fiesta ya rendidos),
Te embistan atrevidos, ■
Y te quiten la vida con presteza,
Consumando en el modo su fiereza.
' Te puncen y te sajen,
Te tundan, te golpeen, te martillen,
Te piquen, te acribillen,
Te dividan, te corten y te rajen,
Te desmiembren, te partan, te deguellen,
Te hiendan, te desueilen,
Te estrujen, te aporreen, te magullen,
Te deshagan, confundan y aturruUen.
* Y las supersticiones
De las viejas creyendo realidades,
Por ver curiosidades,
1
35
V.R tu sangre humedezcan algodones,
Para encenderlos en la noche obscura,
Creyendo sin cordiira
Que ver^n en el aire cuiebrinas
Y otras tristes visiones percgrinas.
i
DIEGO GONZALEZ 25
* Muerto ya, te dispongan
El cntierro, te lleven arrastrando,
Gori, gori, cantando,
Y en dos filas delante se compongan,
Y otros, fingiendo voces lastimeras,
Sigan de planideras,
Y dirijan entierro tan gracioso
Al muladar mds sucio y asqueroso;
« Y en aquella basura
Un hoyo hondo y capaz te faciliten, jq
Y en ^1 te depositen,
Y alll te den debida sepultura ;
Y para hacer eterna tu memoria,
Compendiada tu historia
Pongan en una losa duradera, i^
Cuya letra dird de esta manera:
Epilafio
*Aqui yace el murcielago alevoso,
Que al sol horrorizd y ahuyento el dia,
De pueril sana triunfo lastimoso,
Con cruel muerte.pagd su alevosia: 20
No sigas, caminante, presuroso,
Hasta decir sobre esta losa fria:
Acontezca tal fin y tal estrella
A aquel que mal hiciere i, Mirta bella. *
DON NICOLAS F. DE MORATIN
FIESTA DE TOROS EN MADRID
Madrid, Castillo famoso
Que al rey moro alivia el miedo,
Arde en fiesUs en su toso
Por ser e! natal dichoso
De Alimen6n de Toledo,
Su bravo alcaide Aliatar,
De la hermosa Zaida amanle,
Las ordena celebrar
Por si la puede ablandar
El coraaSn de diamante.
¥as6, vencida a sus ruegos,
Desde Aravaca a Madrid;
Hubo pandorgas y fuegos,
Con otros noclumus juegos
Que di^^pu^o el adalid,
Y en adargas y colores.
En las cifras y libreas,
Mostraron los amadores,
Y en pendones y preseas,
La dicha de sus amores.
Vinieron las moras bellas
De toda la cercania.
Y de lejos muchas de eJJasr
Las m£s apuestas doncellas
Que Espana entonces tenta.
nicolAh f. de mopatIn
37
Aja de Jetaie vino,
1
V Zahaia. la de Alcorc6n,
En cuyo obsequio muy fino
Corrio de ua vuelo el camlno
El moraicel de Alcabdn;
5 -|
Jarifa de Almonacid,
Que de la Alcarria en que habita
^^^1
Llevd d asombrar d Madrid
V
Su amante Audalla, adalid
Del casrillo de Zorita.
10
De Adamuz y la famosa
1
Meco llegaron all!
^
Dos, cada cual m^ bermosa.
^1
Y Fdtima la preciosa.
^
Hija de All el alcadf.
15
El ancho circo se tiena
De multitud clamorosa,
'Que atiende A ver en la arena
La sangrienta lid dudosa,
Y todo en toVno resuena.
JO
La bella Zaida ocup6
Sus dorados miradores
1
Que el arte afiligrand,
1
Y con espejos y flores
Y damascos adomo.
»5
Aiiafiles y atabales.
^^^^^B Con militar armonia,
^^^^^^H Hicieron salva, y sefiales
^^^^^B De naostrar su
1
1
V
aS
ESPA5SA ^^^H
Los moros m^s principales. "
No en las vegas de Jarama
Pacieron la verde grama
Nunca animales tan fieros,
5
Junto al puente que se llama,
Por sus peces, de Viveros,
Como los que el vulgo viiS
Ser lidiados aquel dfa;
Y en la fiesta que gaz6,
lO
La popular alegria
Muchas heridas costd.
Salid un toro del toril
Y a Tarfe tir6 por tierra,
Y luego S Benalguacil;
IS
Despues con Hamete cierra
El temer<5n de Conil.
Traia un ancho listdn
Con uno y otro matiz
Hecho un lazo por airdn,
30
Sobre la inhiesta ccniz
Clavado con un a.r\>6n.
Todo gal& jirelendia
Ofrecerle vencedor
A la dama que servla:
as
Por eso perdio Almanzor
El potro que mas queria.
El alcaide muy zambrero
De Guadalajara, huyo
■
Mai herido al goipe fiero,
k J
NICOLAr F. DE MORATiN
•1
Y desde un caballo overo
■
EI moro de Horche cayd.
Todos miran a Alialar,
^^1
Que, aunque tres toros ha muerto,
^^1
No se quiere aventurar,
i^^^l
Porque en lance tan incierto
'^^H
El caudillo no ha de entrar.
^^1
Mas viendo se culparia,
^^1
Va S. pon^rsele delante:
La fiera le acometia,
lO
Y sin que el rejon la plante
Le malo una yegua pia.
Otra monta acelerado:
Le embiste el toro de un vuelo.
Cogi^ndole entablerado;
'5
Rod6 el bonete encamado
Con las plumas por el suelo.
Di6 vueltu hiriendo y malando
A los de d pie que encontrara,
El circo desocupando,
30
V emplazandose, se para,
Con la vista amenazando.
Nadie se atreve & satir:
^^^^^^L La plebe grita indignada.
^^^^^^H Las damas se quieren
as
^^^^^H Porque la fiesta empezada
^^^^^^B No puede ya pruseguir.
^^^^^1 Ninguno al riesgo se entrega
^^^^^^^ Y estd en medio el toro 6ju,
m
1
1
3°
5
■
espaSa
Cuando un portero que llega
De ia puerta de la Vega,
Hinci5 la rodilla, y dijo:
Sobre un caballo alazanp,
t'ubierto de galas y oro,
Uemanda licencia urbano
Para alancear S. un ton>
Un caballero cristiano.
Mucho le pesa d Aliatar;
Pero Zaida did respuesta
Diciendo que puede entrar,
Porque en tan solemne fiesta
Nada se debe negar.
Suspense el concurso enterc
Entre dudas se embaraza,
Cuando en un potro llgero
Vieron entrar en la plaza
Un bizarro caballero,
Sonrosado, albo color,
Belfo labio, juveniles
Alientos, inquieto ardor.
En el florido verdor
De sus lozanos abriles.
Cuelga la ruliia guedeja
Por donde el almete sube,
Cual mirarse taj vez deja
Del sol la ardiente madeja
Entre cenkienta nube;
Gorguera de anchoa follajes.
^
NICOLAS F. DE MORATiN
(
De una cristiaoa priraores;
■
Ed el yeimo los plumajes
^
Por los visos y celajes
Vergel de diversas flores;
i
En la cuja gruesa lanza,
5
C'on recamado pendon,
Y una cifra a ver se alcanna.
Que es de desesperacidn,
0 5 lo menus de venganza.
En el arz6n de la silla
lO
Ancho escudo reverbera
Con blasones de Castilla,
1
Y el mote dice I la orilla:
Nunca mi espada venciera.
1
Era el cabalb galdn,
15
El bnito mas generoso,
De mds gallardo ademan:
Cabos negros, y brioso,
Muy tostado, y alazin,
Larga cola recogida
ao
En las piernas descamadas,
Cabeza pequefia, erguida,
Las nances dilatadas,
Vista feroz y encendida.
Nunca en el ancho rodeo
=5
^^ Que da Betis con tal fruto
^^^^^^L Pudo fingir el deseo
^^^^^^1 M£s bella estampa de bruto.
^^^^^^H Ni mis bermoso paseo.
^
3'
'I
espaNa
DW la vuelta al rededor;
Ix)S ojcB que le veian
Lleva prendados de amor:
jAlate salve! decian,
i
jDete el Profeta favor!
Causaba Idstima y grima
Su dema edad fluredente:
Todos quieren que se exima
Del riesgo, y ^1 solamente
lO
Ni recela ni se estima.
Las doncellas, al pasar.
■
Hacen de ambar y alcanfor
■
Pebeteros exhalar.
r
Vertiendo pomos de olor,
'S
De jazmines y azahar.
Mas cuando en medio se para,
V de mas cerca le mira
La cristiana esclava Aldara,
Con su seiiora se encara,
ao
Y aa la dice, y suspira:
— Seiiora, sueiios no son;
Asi los cielos, vencidos
De nni ruego y aflicd.5n.
Acerquen d mis oJdos
■S
Las campanas de Le6a,
Como ese donee!, que ufano
Tanto asombro viene & dar
A todo el pueblo africano,
■
Es Rodrigo de Bivar,
NICOLAS r. DE MORATiN
El soberbio castellano, —
Sin descubrirle qui^n es.
La Zaida desde una almena
Le hablo una noche coTt6s,
Por donde se abrii5 despu^s
El cubo de la Almudena;
Y supo que, fugitivo
De la corte de Fernando,
£1 cristiano, apenas vivo,
£st£ i Jimena adorando
Y en su memoria caulivo.
Tal vez a Madrid se acerca
Con frecuentes correrias
Y todo en tomo la cerca;
Observa bus saetias,
Arroyadas y ancha alberca,
Por eso le ha conocido;
Que en medio de aclamaciones,
El caballo ha detenido
Delante de sus bakones,
Y la saluda rendido.
La mora se puso en pie
Y sus doncellas detrds:
El alcaide que lo ve,
Enf urecido ademis,
Muestra cuin celoso est^,
Suena un rumor placentero
Entre el vulgo de Madrid :
No hahii mejor caballeio,
)
n
34
S
espaNa
Dicen, en el mundn entero,
Y algunos le llaman Cid.
Crece la algazara, y &,
Torciendo las riendas de oro,
Marcha al combate cruel:
Alza el galope, y al toro
Busca en sonoro tropel.
El bruto se le ha encarado
Desde que le vio Uegar,
De tanta gala asombrado,
Y al rededor le ha obser\'ado
Sin mo verse de un lugar.
Cual flee ha se disparo
Despedida de la cuerda,
*5
De tal suerte le embistio;
DetrfLS de la oreja izqiiierda
U aguda knza le hiri6.
Brama la fiera buriada;
Segunda vez acomete,
De espuma y sudor banada,
V segunda vez la mete
Sutil la punta acerada.
Pero ya Rodrign espera
Con heroico atrevimiento,
'S
El pueblo mudo y atento:
Se engalla el toro y altera,
Y finje acometiraiento.
La arena escarba ofendido,
Sobre la espalda la arroja
1
nicolAs f. de moratIn
35
Con el hueso retorcido;
El suelo huele y le moja
En ardiente resoplido.
La cola inquieto menea,
La diestra oreja mosquea, ^
Vase retirando atr^,
Para que la fuerza sea
Mayor, y el impetu m^.
El que en esta ocasidn viera
De Zaida el rostro alterado, lo
Claramente conociera
Cuanto le cuesta cuidado
El que tanto riesgo espera.
Mas jay, que le embiste horrendo
El animal espantoso! 15
Jamds penasco tremendo
Del Cducaso cavemoso
Se desgaja, estrago haciendo,
Ni llama asi fulminante
Cruza en negra obscuridad ao
Con reldmpagos delante,
Al estrdpito tronante
De sonora tempestad,
Como el bruto se abalanza
Con terrible ligereza; 25
Mas rota con gran pujanza
La alta nuca, la fiereza
Y el ultimo aliento lanza.
La confusa vocerfa
\
1
36
5
ESPARA
Que en tal instante se oy6
Fue tanta, que parecta
Que honda mina reventd,
0 el monte y valle se hundla.
A caballo como eslaba
Rodrigo, el lazo alcanzd
CoE que el toro se adomaba:
En su lanza )e clavii
Y a los balcones Ilegaba.
Y alzdndose en los estribos,
LealargaaZaida, diciendu:
— Sultana, aunque bien enliendo
Ser favores excesivos,
Mi corto don admitiendo;
IS
Si no OS dignaredes ser
Con el benigna, advertid
Que i mi me Usta saber
Que no le debo ofrecer
A otra persona en Madrid. —
M
Elk, el rostro placentero,
Dijo, y turbada: — Senor,
Yo le admito y le venero,
Por coDservar el favor
De tan gentii caballero. —
■s
Y besando el rico don.
Para agradar al doncel,
Le prende con aficidn
Al lado del corazon
Por brinquino y por joyel.
^
nicolAs f. de moratIn 37
Pero Aliatax el caudillo
De envidia ardiendo se ve,
Y, tr^mulo y amarillo,
Sobre un tremec^n rosillo
Lozanedndose fu^. 5
Y en ronca voz: — Castellano,
Le dice, con mds decoros
Suelo yo dar de mi mano,
Si no penachos de toros,
Las cabezas del cristiano. lo
Y si vinieras de guerra
Cual vienes de fiesta y gala,
Vieras que en toda la tierra,
Al valor que dentro encierra
Madrid, ninguno se iguala. — 15
— Asi, dijo el de Bivar,
Respondo — ; y la lanza al ristre
Pone, y espera d Aliatar;
Mas sin que nadie administre
Orden, tocaron d armar. 20
Ya fiero bando con gritos
Su muerte 6 prision pedia,
Cuando se oyo en los distritos
Del monte de Leganitos
Del Cid la trompeteria. 25
Entre la Monclova y Soto
Tercio escogido emboscd.
Que, viendo como tardd,
Se acerca, oy6 el alboroto.
(
ESPARA
Y al muro s
Y si no vieran salir
Por ia puerta i su sefior,
Y Zaida i le despedir,
; Iban la fuerza d embestir:
Tal era ya su furor.
El alcaide, recelando
Que en Madrid tenga partido,
Se temp Id disimulando,
) Y por el parque florido
Saiid con el razonando.
Y es fama que, a la bajada,
Juro por la cruz el Cid
De su vencedora espada
; De no quitar la celada
Hasta que gane d Madrid.
DON CASPAR MELCHOR DE JOVELLANOS
A ARNESTO
Dejamc, Arnesto, dejame que llore
Los fieros males de mi patria, deja
Que su rijina y perdicion lamente;
Y si no quieres que en el centra nbscuro
De esta prisidn la pena tne consuma,
Dejame al menos que levante el grito
Contra el desorden: deja que & la tinta
■^
JOVKLLANOS
Mezclando miel y acibar, siga indikil
Mi pluma el vuelo del bufon de Aquino.
]0h! (Cuanto rostro veo, a mi censura,
De palidez y de rubor cubierto!
Animo, amigos, nadie tenia, nadie,
Su punzante aguijdn; que yo persigo
En mi sSrira el vicio, no al vicioso.
Va la notoriedad es el mas noble
Atributo del vicio, y nuestras Julias,
Mda que ser malas quieren parecerlo.
Hiibo un tiemjjo en que andaba la modesria
Dorando los delitos; bubo un tiempo
En que el recato timido cubria
La fealdad del vicio; pero huy&e
El pudiir & vivir en las cahafias.
jOh iofamia! job siglo! joh comipcidn! Matronas
Castellanas, ^quien pudo vuestro daro
Pundonor eclipsar? ;Quien de Lucrecias
En Lais os volvid? jNi el proceloso
Oc&no, ni, Ueno de peligros,
El Lilibeo, ni las arduas cumbres
De Pirene pudieron guareceros
Del contagio fatal ? Zaqia preiiada
De oro la nao gaditana, aporta
A las orillas galicas, y vuelve
Llena de objetos futiles y vanos;
espaSa
V cntre !(js signos de extranjera pompa
Ponzi>na esconde y corrupcion, compradas
Con el sudor de las iberas frentes;
Y tli, misera Espafia, tii ta esperas
Sobre la playa, y con afan recoges
La pestilente carga, y la reparles
Alegre entre tus hijos. Vi!es plumas,
Gasas y cintas, flores y penachos
Te trae en cambio de la sangre tuya;
De tu sangre joh baldfinl y acaso, acaso
De tu virtud y honestidad. Repara
Cual la liviana juventud los busca.
Mira cual va con ellos engreida
La impudente doncella; su cabeza,
Cual nave real en triunfo empavesada,
Vana presenta del favonio al soplo
La mies de plumas y de airones, y anda
Loca, buscando en la lisonja el premio
De au indiscrete afan. jAy triste! guarte,
Guarte, que estd cercano el precipicio.
El astuto amador ya en asechanza
Te atisba y sigue con lascivos ojos;
La adulacidn y la caricia el lazo
Te van a armar, do caerds incauta.
En & tu oprobio y perdiciiSn haltando.
[Ay cuSnto, cuSnto de amargura y lloro
Te coslaran tus galas! jCuin tardto
Serf y est^ril tu airepenlimiento'
Ya ni el rico Brasil, ni las cavemas
JOVELLANOS
Del nunca enhauslo Potosi no bastan
A saciar el hidropico deseo,
La ansiosa sed de vanidad y pompa.
Todo lo agolan: cuesta un sombrerillo
Lo que antes un Estado, y se consume
En un festin la dole de una infanla;
Todu lo tragan; la riqueza unida
Va & la indigencia; pide y pordiosea
El noble, engana, empena, malbarala,
Quiebra y perece, y el logrero goza
Los pingiies patrimonios, premio un dia
Del geaeroso atan de altos abuelos.
iOh ultraje! joh mengua! todo se tra&ca:
Parentesco, amistad, favor, influjo,
Y hasta el honor, dep(5silo sagrado,
0 se vende d se compra. Y tu, belleza,
Don el mas grato que did al hombre el cielo,
No eres ya premio del valor, ni paga
Del peregrino ingenio; ia fiorida
Juventud, la temura, el rendimicnto
Del constante amador ya no te alcanzan.
Ya ni te das ai corazdn, ni sabes
De el recibir adoracidn y ofrendas,
Rindeste al oro. La vejez hedionda,
La sutia palidez, la taz adusta,
Fiera y terrible, con igual derecho
Vienen sin susto a negociar contigo.
Daste al barato, y tu rosada frente,
Tus suaves besos y tus dulces brazos,
r
Corcoia un tiempo del amor maa puro,
Son ya una vil y torpc mercancia.
DON JUAN MELENDEZ VALDSS
ROSANA EN LOS FUEGOS
Del sol llevaba la lumbre,
Y la alegria del alba,
En sus celestiales ojos
La hermosisima Rosana,
Una noche que & los fuegos
Salid la fiesta de Pascua
Para abrasar todo el valle
En mil amorosas ansias.
Por do quiera que camjia
Lleva lias si la ma nana,
Y donde se vuelve rinde
La libertad de mil almas.
El cefiro la acaricia
y mansamente la halaga,
Los Amores la rodean
Y las Gracias la acompanan.
Y ella, asi como en el valle
Descuella la altiva palma
Cuando sus verdes pimpolloa
Hasta las nubes levanta;
0 cuaj vid de fruto ilena
Que con el olmo se abraza,
MELfiNDEZ VALDfiS
Y sus v£stago5 extiende
Al arbitrio de las lamas;
A^ entre sus compafieras
El nevado cuello alza,
Sobresaliendo enire Codas
Cual fresca rosa entre zarzas.
Todos los ojos se Ueva
Tras s!, Codo lu avasalla;
De amor mata & los pastores
Y de envidia i las zagalas.
Ni las miisicas se atiendeo,
Ni se gozan las iumbradas;
Que todos corren por verla
Y al verla todos se abrasan.
iQu^ de suspiros se escuchani
jQu6 de vivas y de salvas!
No hay zagal que no la admire
Y no se esmere en loarla.
Cual absorto la contempla
Y a la aurora la compara
Cuando m£s alegre sale
Y e! cielo en albores bana;
Cual al fresco y verde aliso
Que crece al margen del agua,
Cuando mds pomposo en hojas
En su cristal se retrata;
Cual d la luna, si muestra
Lien a su esfera de plata,
Y asoma pior los collados
espaSa
De luceros coronada.
Otros pasmados la miran
Y mudamente la alaban,
Y cuanto mis la contemplan
Muy mds hennosa la hallan.
Que es como el cieio su rostro
Cuando en la noche callada
Brilla con todas sus luces
Y los ojos embaraza.
;Ay, qii6 de envidias se encienden!
jAy, qu^ de celos que causa
En las serranas del Tormes
Su perfeccidn sobrehumana!
Las mSs hermosas la temen,
Mas sin osar murmurarla;
Que como el oro m£is pure
No sufre una leve mancha.
Bien haya tu gentileza,
Una y mil veces bien haya,
y abrase la envidia al pueblo,
Hermosisima aldeana.
Toda, toda eres perfecta,
Toda eres donaire y gracia.
El amor vive en tus ojos
Y la gloria esid en tu cara.
La libertad me has robado,
Vo la doy por bien robada,
Mas recibe el don benigna
Que mi humildad le consagra.
MELfiNDEZ VALDfiS 45
Esto un zagal la decia
Con razones mal formadas,
Que sali6 libre d los fuegos
Y volvid cautivo d casa.
Y desde entonces perdido 5
£1 dia i sus puertas le halla;
Ayer le canto esta letra
Echandole la alborada:
Linda zagaleja
De cuerpo gentil, 10
Muirome de amores
Desde que te vi.
Tu talle, tu aseo,
Tu gala y donaire,
No tienen, serrana, 15
Igual en el valle.
Del cielo son ellos
Y tu un serafin:
Muerome de amores
Desde que ie vi. ao
De amores me muero,
Sin que nada baste
A darme la vida
Que alia te llevaste,
Si ya no te dueles, 25
Benigna, de mi;
Que muero de amores
Desde que te vi.
DON MANUEL JOS£ QUINTANA
ODA A ESPANA, DESPU£S- DE LA REVOLUCION
DE MARZO
^Qu^ era, decidme, la naci6n que un dia
Reina del mundo proclann3 el destino,
!La que a todas las zonas extendia
Su cetro de oro y su blas(5n divino?
S Voldbase a occidente,
V el vasto mar Atlantico sembrado
Se hallaba de su gloria y su fortuna.
Do quiera Espana: en el preciado seno
De America, en el Asia, en los confines
0 Del Africa, alK Espafia. El soberano
Vuelo de la atrevida fantasia
Para abarcarla se cansaba en vano;
La tierra sus mineros le rendia,
Sus f)erlas y coral el Oceano,
S Y donde quier que revolver sus olas
£l intentase, a quebrantar su furia
Siempre encontraba costas espanolas.
Ora en el cieno del oprobio hundida,
Abandonada ii la insdencia ajena,
D Como esclava en mercado, ya aguardaba
La ruda argoUa y la servil cadena.
iQu^ de plagas! joh Dios! Su aliento impure.
La pestilente fiebre respirando,
Infesto el aire, emponzond la vida;
QUINTANA
La hatnbre enflaquecida
Tendid sus brazos lividos, ahogando
Cuanto el contagio perdond; tres veces
De Jano el templo abrimos,
Y a la trompa de Marte aliento dimos;
Tres veces ^ay! Los dioses tutelares
Su escudo nns negaron, y nos vimos
Rotos en tierra y rotos en los mares.
I Que en tanto tiempo viste
Por tus inmensos t^rminos, oh IberiaP
I Que viste ya sino tunesto luto,
Honda tristeza, sin igual miseria,
De tu vil servidumbre acerbo fruto?
Asl rota la vela, abierto el lado,
Pobre bajel 6. naufragar camina,
De tormenta en tormenta despeiiado,
Por Ins yermos del mar; ya ni en su popa
Las guirnaldas se ven que antes le ornaban,
Ni en sefial de esperanza y de contento
La flamula riendo at aire ondea.
Ceso en su dulce canto el pasajero,
El ronco marinero,
Terror de muerte en tomo le rodea,
Terror de muerte siiencioso y frio;
Y ^1 va fi estreliarse al dspero bajio.
Llega el momento, en fin; tiende si
El tirano del mundo al occidente,
Y fiero exclama: *EI occidente es mi
ESPA«A
B£rbaro gozo en su cenui^a frente
Resplandecid, cotno en el seno obscuro
De nutje tormentosa en el estio
Rel^mpago fugaz hrilla un moment"
Que anade horror con su fulgor sombrio.
Sus guerreros feroces
Con gritos de soberbia el viento llenan;
Gimen los yunques, los martillos suenan,
Arden las forjas. jOli vergiienza! jAcaso
Pensais que espadas son para el combate
Las que mueven bus manos codiciosas?
No en tanto os estimds: grillos, esposas,
Cadenas son que en vergonzosos lazos
Por siempre amarren tan inertes brazos.
Estremeciose Espafia
Del indigno rumor que cerca oia,
V al grande impulse de su justa safia
Rompid el volcan que en su interior hervia.
Sus d^spotas antiguos
Constemados y p51id(« se esconden;
Resuena el eco de venganza en torno,
V del Tajo las mdrgenes rcsponden:
"iVeoganza!" ^D<5nde estin, sagrado rio,
Los colosos de oprobio y de verguetiza
Que nuestro bien en su insolencia ahogahan P
Su gloria fue, nuestro esplendor comlenza;
V tii, orgulloso y fiero.
Viendo que aun hay Castilla y castellanos,
Precipitas al mar tus rubias ondas.
QUINTANA
49
Diciendo: 'Va acabaron los tiranos. °
jOh triunfo! jOh gloria! ;Oh celestial momento!
^Con que puede ya dar el labin mio
El nombre auguslo de la palria al viento?
Vo le dard; mas ni> en el arjia de ore
Que mi cantar sonoro
Acompand hasta aqui; nu aiirisionado
En estrecho recinto, en que se apoca
EI numen en el pecho
Y el aliento fatldico en la Ixica.
Desenterrad la lira de Tirteo,
Y el aire abierto & la radiante lumbre
Del sol, en la alta cumbre
Del riscoso y pinlfero Fuenfria,
Alli volard yo, y alii cantando
Con voz que atruene en rededor la sierra,
Lanzar^ por los campos castellanos
Los ecos de la gloria y de la gueira.
jGueira, nombre tremendo, ahora sublime,
Onico asilo y sacrosanto escudo
Al Impetu saiiudo
Del fiero Atila que & occidente oprime!
iGuerra, guerra, espanoles! En el Betis
Ved del Tercer Fernando alzarsc airada
La augusU sombra; su divina frente
Mostrar Gonzalo en la imperial Granada;
Blandir el Cid su centelleante espada,
Y alls sobre los altos Pirineos,
De! hijo de Jimena
ESPANA
Animarse los mierab g gan
En torvo ceflo y d d n p na
Ved como cruzan p 1 es anos;
Y el valor exhaland q se n rra
Dentro del hueco d ml a. f fas,
En fiera y ronca v z p n n n jGuerra!
jPues qu^! ^Con faz serena
Vierais los campos devastar opimos,
Etemo objeto de ambicidn ajena,
Herencia inmensa que afanando os dimns?
Despertad, raza de heroes: el momento
Lleg6 ya de arrojarse a la victoria;
Que vuestro nombre eclipse oueslro nnmbre^
Que vuestra gloria humille nuestra gloria.
No ha sido en el gran dia
El altar de la palria alzado en vano
For vueatra mano fuerte.
Juradlo, ella os lo manda: /Antes la muerie
Que con.senlir jamds ning^n lirano!*
Si, yo lo juro, venerables sombras;
Yo lo juH) tambi^n, y en este inslante
Ya me siento mayor. Dadme una lanza,
Ceiiidme e! casco fiero y refulgente;
Volemos al combate, A la venganza;
Y e) que niegue su pecho a la esperauza,
Hunda en el polvo la cobarde frente.
Tal vez el gran torrente
De la devastacion en su carrera
Me llevard. ;QuS importa? ^Por ventura
SOLlS
No se muere una vez? ^No ir^, expirando,
A encontrar nuestros Indites mayores?
'jSalud, oh padres de la patria mla,
Yo les dir^, salud! La heroica Espana
De eotre cl estrago universal y horrores
Levanta la cabeza ensangrentada,
Y vencedora de su mal destino,
Vuelve i dar i. la tierra amedrentada
Su cetro de oro y su lilason divino, '
DON DIONISIO SOLIS
LA PREGUNTA DE LA NISA
Madre mla, yo soy nifia;
No se enfade, no me rina,
Si fiada en su prudencia
Desahogo mi conciencia,
Y contarle solicito
Mi desdicha 6 mi delito,
Aunque muerta de rubor.
Pues Blasillo el otro d(a,
Cuando mis mo anocheda,
Y cantando descuidada
Conducfa mi man ad a,
En el bosque, por acaso,
Me sali<5 solito al paso,
Mds hermoso que el amor.
Se me acerca temeroao,
^^P ^^^H
Me saluda carinoso, H
Me Fepite que soy linda, H
Que no hay pecho que no rinda, ^|
Que si rio, que si lloro, B
A los horabres enamoro, H
V que malo con mirar.
Con estilo cortesano
Se apodera de mi mano,
Y entre dientes, madre mia,
No se bien que me pedia;
Vo entendi que era una rosa,
Pero el dijo que era otra cosa,
Que yo no le quise dar.
^Sabe usted lo que decia
El taimado que queria?
Con vergUenza lo confieso,
Mas no hay duda que era un beso
Y fu^ tanto mi sonrojo,
Que irritada dc su arroj'o.
No s6 como no mori.
Mas mi pecho enterneeido
De mirarle tan rendido,
Al principio resistiendo,
£l instando, yo cediendo,
Fu^ por fin tan importuno,
Que en la boca, y solo uno,
Que me diera permiti.
Desde entonces, si le miro,
L Yo no s€ por que suspiro,
SOLfS
53
Ni por qu^ si d Clori mira
Se me abrasa el rostro en ira;
Ni por que, si con cuidado
Se me pone junto al lado,
Me estremezco de placer. 5
Siempre orillas de la f uente
Busco rosas a mi f rente,
Pienso en ^1 y me sonrio,
Y entre mi le llamo mlo,
Me entristezco de su ausencia, 10
Y deseo en su presencia
La mds bella parecer.
Confundida, peno y dudo,
Y por eso d usted acudo;
Digame, querida madre, 15
Si sentia por mi padre
Este pldcido tormento,
Esta dulce que yo siento
Deliciosa enfermedad.
Diga usted con que se cura 20
O mi amor, 6 mi locura,
Y si puede por un beso,
Sin que pase A mas exceso,
Una nina enamorarse,
Y que trate de casarse 25
A los quince de su edad.
I
DON JUAN NICASIO GALLEGO
EL DOS DE MAVO
Noche, Idbrega noche, eterno asilu
Del miserable que, esquivaodo el sue no.
En tu silencio pavoroso gime;
No desdefies mi voz; letai Ijelefio
Presta a mis sienes, y en tu horror sublime
Empapada la ardiente fantasta,
Da a mi pincel fatldicos colores
Con que el tremendo dia
Trace ai furor de vengadora tea,
V el odio irrite de la p atria mia,
Y escandalo y terror al orbe sea.
jDia de execracidn! La destructora
Mano del tiempo le arrojo al avemo;
Mas I qui^n el sempitemo
Clamor con que los ecos import una
La madre Espafla en enlutado arreo
Podrd atajar? Junto al sepulcro frio,
Al palido lucir de opaca luna,
Entre cipreses fiinebres la veo:
Tr^mula, yerta, descenido el manto,
Los ojos moribundos
Al cielo vuelve, que le oculta el Uanto;
Roto y sin brillo el cetro de dos mundos
Yace entre el polvo, y el ledn guerrero
Lanza a sus pies rugido lastimero.
I
jAy, que cual d^bil planta
Que agola en su furor liorrido vienlo,
De viclimas sin cuenlo
Llord la destruccion Mantua afligida!
Yo vi, yo vi su juventud l]orida
Correr inerme al huesped ominoso.
;Mas qu^ su generoso
Esfuerzo pudo ? El perfido caudilio
En quien su honor y su defensa fia,
La condeni5 al cuchiJIo.
^Quien ]ay! la alevosia,
La horrible asolacion habrd que cuenle,
Que, hollando de amistad los santos fueros,
Hizo furioso en la indefensa gente
Ese tropel de ligres camiceros?
Por las henchidas calles
Gritando se despena
La infame turba que abrigo en su seno,
Rueda allS rechinando la curefia,
Aci retumba el espantoso Irueno,
Allt el joven lozano,
El mendigo infeliz, el venerable
Sacerdote pacifico, el anciano
Que con su arada faz respeto
Juntos amarra su dogal lirano.
En balde, en balde gime,
De los duros sat^lites en torno,
La triste madre, la a6igida esposa.
Con doliente clamor, la pavorosa
ESPASA
Fatal descarga suena,
Que a luto y Uanto elerno la condena.
jCuScta escena de muerle! jcuSnto estrago!
jCuantos ayes doquier! Despavorido
Mirad ese infelice
Quejarse al adalid empedernido
De otra cuadrilla almz; "jAh! ^Qu^ te like?"
Exclama el trisle en Idgrimas desheclio:
"Mi pan y mi mansi6n parti contigo,
Te abri mis brazos, te cedi mi lecho,
Temple tu sed, y me llamd tu amigo;
I V ahora pagar podras nuestro hospedaje
Sincero, franco, sin doblez ni engaiio,
Con dura muerte y con indigno ultraje?"
iPerdido suplicar! jiniltil ruego!
E! monstruo infame d sus ministros mira,
Ycon tremenda viiz gritando: 'jfuego!'
Tinto en su sangre el desgraciado expira.
Y en tanto ;d(5 se esconden?
^D6 estan joh cara patria! tus soldados,
Que a tu clamor de muerle mi responden ?
Presos, encarcelados
Por jefes sin honor, que, liaciendo alarde
De su perfidia y dolo,
A merced de los vdndalos te dejan,
Como entre hierros ei le<5n, forcejean
Con iniitil afdn. Vosotros siilo,
Fuerte Daoiz, inir^pido Velarde,
Que osando resistir al gran torrente
Dar supisteis en flor la dulce vida
Cod firme pecho y con serena frenle;
Si de mi libre musa
Jani£s el eco adormecio & tiranos,
Ni vi! Ilsonja emponzon<i su a lien to.
Alld del altu asienio,
Al que la accion magndnima ns eleva.
El himno oid que d vuestro numlire enlona,
Mientras la fama aligera le lleva
Del mar de hielo d la abrasada aina.
Mas jay! que en lanto sus iuneslas alas
Por la opresa metropoli tendlendd,
La yerma asolacidn bus plazas tubre,
Y al aspero silbar de ardientcs balas,
Y al ronco son de los prenados lironces,
Nuevo fragor y estrepito sucede.
,; OIs como, rompiendo
De moradores timidos las puertas,
Caen estallando de los fuerles giinces?
jCon qu^ espantoso eslruendo
Los duenos buscan, que medrosos Uiiyciil
Cuanto encuentran destruyen,
Bramandu, los atroces forajiJos,
Que el robo infame y la malanza ciegau,
^ No veis cuil se despiiegan,
Penetrando en los hondos aposentos,
De sangre y oro y lagrimas sedienlos ?
Rompen, lalan, destrozan
Cuanto se ofrece a su sangrienta espada.
ESP ASA
Aqui, matando al dueno, se alborozan,
Hleren all! su esposa acongojada;
La familia asolada
Yace expirando, y con feroz sonrisa
Sorben voraces el fatal tesoro.
Suelta, i otro lado, la madeja de oro,
Mustio el dulce carmin de su mejllla,
V eo su frente marchiia la azucena,
Con voz turhada y anheJante Uoro,
De su verdugo ante los pies se humilla
Timida virgen, de amargura Uena;
Mas con furor de hiena,
Aizando el corvo alfanje damasquino,
Hiende su cuello el bSrbaro asesino.
jHorrible atrocidad! . . . Treguas joh musa!
Que ya la voz rehusa
Embargada en suspiros mi garganta.
y en. ignominia tanta,
;Sera que rinda el espafiol bizarro
La indomita cerviz d la cadena?
No, que ya en torno suena
De Palas fiera el sanguinoso carro,
YelUttgoestallante
Los caballos flamigeros hosliga.
Ya el duro peto y el arnes brillante
Visten los fuertes hijos de Pelayo.
Fuego arrojd su ruginoso acero:
•jVenganza y guerra!" resonfi en su tumba;
■;Venganza y guerra!" repitiO Moncayo;
y al grito heroico que en los aires zmnba,
• jVenganza y guerra! * claman Turia y Duero.
Guadalquivir guerrero
Alza al belico son la regia f rente,
Y de! Patrijn valiente
Blandiendo altivu la nudosa lanza,
Corre gritando al mar: 'jGuerra y venganza!'
jOh sombras infelices
De los que aleve y bdrbara cuchilla
Rob"5 S. los dulces lares 1
jSombras inultas que en fugaz gemida
Cnizais los anchos campos de Castilla!
La heroica Espafia, en tanto que al bandido
Que i fuego y sangre, de insolencia eiego,
firindo felicidad, a sangre y fuego
Le retribuye el don, sabrd piadosa
Daros solemne y noble monumento.
AllI en padron cruento
De oprobio y mengua, que perpetuo dure,
La vil traici<5n del d^spota se lea,
Y altar etemo sea
Donde todo Espanol al monstruo jure
Rencor de muerte que en sus venas cunda,
Y i cien generaciones se difunda.
i\
DON FRANCISCO MARTINEZ DE LA ROSj'
EL NIDO
^Ddnde vas, zagal cruel,
Donde vas con ese nido,
Riyendo tu mientras pian
Esos tristes pajarillos?
; Su madre los deji5 sobs
En este momento mismo,
Para buscarles sustento
Y dSrselo con su pico . . .
Mfrala cu^n azorada
> Echa menos & sus hijos,
Salta de un drbol en otro,
Va, toma, vueSa sin rino;
Al cielo favor demands
Con acento dolorido;
; Mientras ellos en tu mano
Baten el ala al oirlo . . .
jTu tambi^n tuviste madre,
V la perdiste aun muy nifio,
V te encontrasle en la ticrra
) Sin amparo y sin abrigol —
Las lagrinias sc le saltan
Al cuitado pastorcillo,
Y vergonzoso y confuso
Deja en el ^rbol el nido.
Qae BO faa de eolrar, i
PdrcBas, qinm n
Mas Kmpio ({ue k» esii d soL
* No profane mi palacio
Ua fcmentido tfaidor
Que cootn su Rey comlute
V que a su patria rendio.
• Pucs si cl es de Rcj-es prinra,
Priiio de Reyes soy w;
V ccmde de Bena\'¥nte
Si el es duque de Borlxm ;
■Llevindole de ventaja
Que nunca jamds maniln^
La traicioD ml noble sangre,
V haber nacido espahol. '
Asi atrunaba
Una ya cascada vo2,
■alte
►
espaSa
Que de un pakcio salfa
Cuya puerta se cerrd;
Y d la que estaba a caballo
Sobre un negro pisador,
Siendo en su escudo !as lises
Mas bien que timbre balddn,
Y de pajes y escuderos
Llevando un trope I en pos
Cubiertos de ricas galas,
El gran duque de Bortx5n:
El que lidiando en Pavia,
MSs que valienle, feroz,
Y que d Toledo ha venido,
Ufano de su traicion,
Para recibir mercedes
Y ver al Emperador.
ROMANCE SEGUNDO
En una anchurosa cuadra
Del alcazar de Toledo,
Cuyas paredes adoman
Ricos tapices flamencos,
Al lado de una gran mesa,
Que cubre de terciopelo
Napolitano tapete
Con borlones de oro y flecos;
Ante un sillon de respaldo
^H DUQLE DE RIVAS
6j
^^H Que entre bordado arabesco
^^H Los timbres de Espafia ustenta
^B Y el dguik del imperii.,
^^H De pie estaba Carlos Qitinto,
^^H Que en Espafia era primero,
s"
^^H Con gallardo y noble lalle,
^^H Con noble y tranquilo aspecto.
1
^H De brocado de oro y bianco
^^H Viste (abardo tudesco,
^^H De rubias martas orlado,
lO
^^H Y desabrochado y suelto,
^^M Dejando ver un justillo
^^m De raso jalde, cubierto
^^M Con primorosos bordados
^^H Y costosos sobrepuestos,
•5
^^H Y la excelsa y noble insignia
^^1 Del Toison de oro, pendiendo
^^H De una preciosa cadena
^^P En la mitad de su pecho.
^^B Un birrete dc veDudo
aa
^^H Con un bianco airdn, sujelo
^^H For un joyel de diamant^s
^^M Y un antiguo camafeo,
^^H Descubre por ambos lados,
^^P Tanta majestad cubriendo,
as
^^H Rubio, cual barba y bigote.
^^H Bien atusado el cabello.
^^H Apoyada en la cadera
I
w
■%
W a,
s
ESPANA
La potente diestra ha puesto,
Que aprieta dos guaotes de imbar
Y un primoroso mosquero,
Y con la siniestra halaga
De un mastin muy corpuknto,
Blanco y las orejas rubias,
El ancho y camoso cuello.
Con el Condestable insigne,
Apaciguador de! reino,
De los pasadoB disturbios
Acaso est^ discurriendo;
6 del trato que dispone
Con el Rey de Francia preso,
0 de asuntos de Aiemania
IS
as
Agitada por Lutero;
Cuando un Iropel de caballos
Oye venir a lo lej'os
Y ante el alcazar pararsc,
Quedando todo en silencio.
En la antecamara suena
Rumor impensado luegn,
Abresc a! fin la mampara
Y entra el de Borbdn soberbio,
Con el semblante de azufre
Y con los ojos de fuego,
Bramando de ira y de rabia
Que entrena mal el respeto;
y con balbucieote lengua,
^^H DL'QL'E DE RIVAS
^5 ^M
^^H V con mal boirado ceno,
^H Acusa al de Benavente,
^^H Un desagravio pidiendo.
^^1 Del espanol Condestahle
■'
^^H Lati6 con orguUo e) pecho,
s
^H Ufano de la entereza
^^1 De su esclarecido deudo.
^H Y aunque advertido procura
^^M Disimular cual discrete,
^H A su noble rostro asoman
lO
^^H La aprobacidn y el contenlo.
^^H El Emperador un puBtci
^^H Quedd indeciso y suspense,
^^H Sin saber que responderle
^^P Al tranc&, de enojo ciego.
"3
^^H Y aunque en su interior se goza
f
^K Con el proceder violento
^^M Del conde de Benavente,
^H De altas csperanzas Ueno
^^H For tener tales vasallos,
30
^^1 De noble lealtad modelos,
^^H Y con Ids que el anchti mundo
^H Ser£ A BUS glorias estrecho,
^H Mucho al de Borb.5n le debe
^H Y es f uerza satisf acerlo :
'5
^^B Le ofrece para calmarlo
^H Un desagravio complete.
^^1 Y, llamando & un gentU-hombre,
■
r.
espaNa 1
Con el semblante severo
Manda que el de Benavente
Venga i su presencia presto.
ROMANCE TERCERO
Sostenido por sus pajes ,
s
Desciende de su litcra
El conde de Benavente
Del alcSzar S. la puerta.
Era un viejo respetabJe,
Cuerpo enjuto, cara seca,
■la
Con dos ojos como chispas,
Cargados de largas cejas,
V con semblante muy noble,
Mas de gravedad tan seria
Que veneraci6n de lejos
IS
V miedo causa de cerca.
Eran su traje unas caJzas
De purpura de Valencia,
V de recamado ante
Un coleto a la leonesa:
ao
De fino lienzo gallego
Los punos y la gorguera.
Unos y otra guarnecidns
Con randas barcelonesas:
Un birretdn de velludo
"5
Con su cintillo de perlas,
Y el gabin de paiio verde i
k
. Con alamares de seda. * '
DUQL'E DE RIVAS
Tan solo de Calatrava
La insignia espafiola Ueva;
Que et Toison ha despreciado
For ser orden extranjera.
Con paso tardo, aunque firme,
Sube por las escaleras,
Y al verle, las alabardas
Un golpe dan en la tierra;
Golpe de honor, y de aviso
De que en el alcazar entra
Un Grande, d quien se le debe
Todo honor y reverencia.
Al Uegar S. la antesala,
Los pajes que estdn en ella
Con respeto le sal u dan
Abriendo las anchas puertas.
Con grave paso entra el conde
Sin que otro aviso preceda,
Sabnes atravesando
Hasta la cimara rcgia.
Pensativo estd c! Monarca,
Discurriendo como pueda
Componer aquel disturbio
Sin hacer A nadie ofensa. ■
Mucho al de Borh6n le debe,
Aun mucho mas de el espera,
V al de Benavente mucho
'5
Considerar le interesa.
Dilacion no admile el caso,
No hay quien dar consejo pueda
Y Villalar y Pavia
A un tiempo se le recuerdan.
En el si Hon asentado
Y el codo sobre ia mesa,
Al persona je recibe,
Que comedido se acerca.
Grave el conde le saluda
Con una rodilla en (ierra,
Mas como Grande del reino
Sin descubrir la cabeza.
El Emperador benigno
Que alee del suelo le ordena,
Y la pldtica dificil
Con sagacidad empieza.
Y entre severo y afahle
Al cabo le manifiesta
Que es el que i Borbrin aloj'e
Voluntad suya resuella.
Con respeto muy profundo,
Pero con la voz enlera,
Respfindele Benavente,
Destocando la cabeza ;
• Soy, sefior, vuestro vasatio,
Vos sois mi rey en la tierra,
A vos ordenar os cumple
w
^H DL'QUE DE RIVAS 69
^^H De mi vida y de mi hacienda. 1
^^M "Vuestro soy, vuestra mi casa,
^^H De mi disponed y de ella,
^^H Pero no toqu6s mi honra
^H Y respetad mi conciencia. 5
^^B "Mi casaBorbon Dcitpe .
^^H Puesto que es volimtad vuestra, 1
^^H Contamine sus paredes, ]
^^H Sus blasones envilezca;
^H > Que i ml me sobra en Toledo ,„
^^f Donde vivir, sin que tenga
Que roaarme con traidores,
Cuyo solo aliento infest a.
Y en cuaoto 6\ deje mi casa,
Antes de tornar yo d ella, 15
Purificar^ con fuego
Sus paredes y sus puerlas. •
Dijo el conde, la real mano
Besd, cubrid su cabeza,
Y retir6se bajando ao
A do estaba su litera.
Y & casa de un su parienle
Mando que le condujeran,
Abandonando la auya
Con cuanto dentro se encieira. jj
Qued6 absorto Carlos Quinto
^^L De ver tan noble firmeza,
^M Estimando la de Espana
^^^ Mds que la imperial diadema.
1 M
r
ROMANCE CUAHTO
Muy pocos dias el duque
Hizo mansion en Toledo,
Del noble conde ocupando
Los hoorados aposentos.
Y la noche en que el palacio
Dejo vacio, partiendo,
Con su s^quito y sus pajes,
OrguUoso y satisfecho,
Turb6 la apacible luna
Un vapor bianco y espeso
Que de las altas techumbres
Se iba elevando y creciendo:
A poco rato tornose
Eo hurao confuso y denso
Que en nubarrones obscuros
Ofuscaba el claro cielo;
Despues en ardientes chisjias,
Y en un resplandor horrendo
Que iluminaba los valles
Dando en el Tajo reflejos,
Y al fin su furor moslrando
En embravecido inceodio
Que devoraba altas torres
Y derrumbaba altos techos
Resonaron las campanas,
Contnovi6se todo el pueblo
De Benavente el palatio
^^^^F AROLAS 71 ^^M
^^B Presa de las llamas viendo. ^^H
^^H £1 Eni[>erador confuso ^^^H
^^H Corre i procurar remedio, 1
^^1 En atajar tanto dano
^^M Mostrando tenaz empeno. 5
^^H En vano todo: trag(5se
^^H Tantas riquezas et fuego,
^H A la lealtad castellana
^^H Levantando un monumento.
^^H Aun hoy unos viejos muros 10
^H Del humo y las llamas negros
^^1 Recuerdan accioD Ian grande
^H Ed la famosa Toledo.
^M PADRE JUAN AROLAS
^H SE MAS FELIZ QUE YO
^V Sobre pupila azul, con sueno leve,
^H^ Tu parpado cayendo amortecido, i;
^H Se parece d la pura y blanca nieve
^H Que sobre las violetas reposo: I
^H Vo el sueno del placer nunca he dortnido:
^H S^ mds feliz que yo.
^1 Sc aaemeja tu voz en la plegaria zo
^H Al canto del zorzal de indiano suelo
^H Que sobre la pagoda sulitaria
^^1 Los himnos de la tarde suspinS:
r
I
espaSa
Vo solo esta oracidn dirijo a! cielo;
Se mas feliz que yo,
Es tu aliento la esencia mSs Cragante
De los linos del Arno caudaloso
Que brotan sobre un junco vacilaate
Cuando el c^firo blando los mecid;
Yy no gozo su aroma delicioso;
Se mds feliz que yo.
El amor, que es espfritu de fuego,
Que de callada noche se aconseja
Y se nutre con Idgrimas y ruego,
En tus purpiireos tabios se escondid:
£l te guarde el placer y d ml la queja:
Se mds feliz que yo.
Bella es tu juventud en sus albores
Conio un campo de rosas del Oriente;
A! iingel del recuerdo pedi (lores
Para adomar tu sien, y me las did;
Yo deda al ponerlas en tu frenle:
Se mas feliz que yo.
Tu mirada vivaz es de paloma;
Como la adormidera del desierio
Causas dulce embriaguez, hurt de aroma
Que el cielo de lopacio abandond;
Mi suerte es dura, mi destino iucierto:
Se mas feliz que yo.
ESPR6NCEDA 73
DON JOSfi DE ESPRONCEDA
CANCldN DEL PIRATA
Con diez canones por banda,
Viento en popa d toda vela,
No corta el mar, sino vuela
Un velero bergantin:
Bajel pirata que llaman,
Por su bravura, el TemidOy
En todo mar conocido
Del uno al otro confin.
La luna en el mar riela,
En la lona gime el viento,
Y alza en blando movimiento
Olas de plata y azul;
Y ve el capitan pirata,
Cantando alegre en la popa,
Asia i, un lado, al otro P^uropa,
Y alia i, su f rente Stambul,
* Navega, velero mio.
Sin temor;
Que ni enemigo navio,
Ni tormenta, ni bonanza
Tu rumbo d torcer alcanza,
Ni d sujetar tu valor.
* Veinte presas
Hemos hecho
74. es?a:!^a
A iesceciio
Y laa reminio
Sus peadunes
5 Caen. n;iicii:ae>
A ziis pies-. •
Q'M^ tfy wi bar: J mi ufsurti^
Q'Mf es mi Dios ^ littrr^ad.
Mi Ley l^j\t€rsi y « TZtnLu.
lo Hi mmica ptztrsa ^*i mnir,
• AM muevan f eroz a:u€m
Cies^js reves
For im palmo mas de derra:
Que TO tengo aqui por mio
15 Cixanto abarca d mar bravio,
A qukn nadie impuso kyes.
•Y no'hay plava,
Sea cual quiera,
Ni bandera
^^ De esplendor,
Que no sienta
Mi derecho,
Y d^ pecho
A mi valor. •
35 Que es mi harco mi tesoro . . .
• A la voz de * \ barco viene ! •
Es de ver
♦ ESPRONCEDA 75
C6mo vira y se previene
A todo trapo 1 escapar;
Que yo soy el rey del mar,
Y mi furia es de temer.
*En las presas 5
Yo divido
Lo cogido
Por igual:
S6I0 quiero
Por riqueza 10
La belleza
Sin rival. •
Que es mi harco mi tesoro , . .
^jSentenciado estoy i. muerte!
Yo me no: 15
No me abandone la suerte,
Y al mismo que me condena
Colgar^ de alguna entena,
Quizd en su propio navio.
* Y si 'caigo, 20
^ Qu^ es la vida ?
Por perdida
Ya la di,
Cuando el yugo
. Del esclavo, 25
Como un bravo,
Sacudi.*
Que es mi harco mi tesoro . . •
76 ESPA5JA
• Son mi mtjsica mejor
Aquilones:
El estr^pito y temblor
De los cables sacudidos,
5 Del negro mar los bramidos
Y el rugir de mis canones.
* Y del trueno
Al son violento
Y del viento
lo Al rebramar,
Yo me duermo
Sosegado,
Arrullado ,
Por el mar. *
15 Que es ml barco mi tcsoro.
Que es mi Dios la libertad,
Mi ley lafuerza y el vienlo,
Mi Unica patria la mar,
A LA PATRIA
i Ciidn solitaria la naci6n que un dia
20 Poblara inmensa gente !
i La naci6n cuyo imperio se extendla
Del ocaso al oriente!
;I^grimas viertes, infeliz, ahora,
Soberana del mundo,
25 Y nadie de tu faz encantadora
Borra el dolor prof undo!
ESPRONCF.DA
Obscuridad y luto tenebroso
En ti verlid la muerte,
Y en su furor el d&pota sanoso
Se complaci6 en tu suerle.
No perdon6 lo hermoso, patria mia;
Cayo el joven guerrero,
Cayd el anciano, y la segur imjiia
Manejd placentcro.
So la rabia cayo la virgen pura
Del d^spota sombrio,
Como eclipsa la rosa su hermosura
En el sol del esUo,
I Oh vosoiros, del n
Contemplad n
^Igualarse podran jah! c|ue dnlore^
Al dolor que yo sienio?
Yo, desterrado de lu palria m(a,
T)e una palria que adoro,
Perdida miro su primer valia
Y sus desgracias lloro
Tendio sus brazos la agitada Espai
Sus hiJDS implorandu;
Sus hijos fueron, mas traidora sana
Desbaratd su bando.
r
espaSa
^ Qui; se hicieron tus muros torreados,
Oh mi palria (juerida?
I Donde fueron ttis h^riics esf orzados,
Tu espada no vencida ?
jAyt de tus hijos en la humitde IreDte
Esli el rubor grabado-
A sus ojos, caidos irisietnente,
El llaoto esta agulpado.
Un liempo Espafia fu^; cien heroes fueron
En liempos de ventura,
Y las naciones timidas la vieroQ
Vistosa en hermosura.
Cual cedro que en el T.ibano se ostenta,
Su frente se elevaba;
Como el trueno A la virgen amedrenla,
Su voz las aterraba.
Mas bora, como piedra en el desierto,
Yaces desamparada,
Y el juslo desgraciado vaga incierlo
All£i en derra apartada.
Cubren su antigua pompa y poderio
Pobre hierba y arena,
Y el enemigo que lembl(S i su brio
Burla y goza en su pena.
rrimiiiAii ;ak Mv: dc ■
iQnim rahiMrf ;«& Ftpmma* i
^QincB aecaii la IsalD?
DOX JOS£ ZORRILLA
ORIENTAL
Cocriendo ran por la vr^
A las puerlas de Crutada
Hasta cnarenta gomeks
Y d cafHtan que los manda.
Al entrar en la ctudad,
Parando en su yegua blanca,
he dijo fete & una mujer
Que entre sus brazos lloraba:
— Enjuga el llanto, cristiana,
No me atormenles asi,
Que tengo yo, mi sultana.
Un nuevo Eden para ti.
Tengo un palacio en Granada,
Tengo jardines y flores,
Tengo una fuenle dorada
Con m^ de cien surtidores.
So
espaSa !
Y en !a vega del Genii
Tengo parda fortaleza,
Que seri reina entre rail
Cuando encierre tu belleza.
5
V sobre loda una orilla
Extiendo mi senorio;
Ni en Cordoba ni en Sevilla
Hay un parque como el mio.
Alii la altiva palmera
lO
Y el encendido granado,
Junto d la frondosa higuera
Cubreo el valle y collado.
All! el robusto nogal,
Alii el ndpalo amaritio,
15
All! el sombrio moral
Crecen al pie del Castillo.
Y olraos tengo en mi alameda
Que hasta el cielo se levantan,
Y en redes de piala y seda
M
Tengo paj'aros que cantan.
Y tii mi sultana eres,
Que desiertos mis salones
Eatan, mi haren sin mujeres,
Mis oidos sin canciones.
35
Yo te dare lerciopelos
Y perfumes orientales;
De Grecia te traert? velos
Y de Cachemira chales.
i
Y te dard blanca^ plumas
\
r
ZORRILLA
1
1
■
Para que adomes tu frente,
1
■
■
Mas blancas que las espumas
1
■
■
De nuestros mares de oriente;
■
Y perias para el cabcllo,
^
Y banos para cl calor,
S
Y collares para el cuello;
Paralos labios . . . jamor! —
— ,;Qu^ me valen tus riquezas,
Respondiole [a cristiana,
Si me quitas d mi padre,
ID
Mis amigos y mis damas?
Vuelveme, vue'lverae, moro,
A mi padre y a mi palria,
Que mis torres de Leon
Valen mas que hi Granada. —
^S
Escuch61a en paz el moro.
Y manoseando su barba.
Dijo, CO mo quien medita.
En la mejUla una Ugrima:
Si tus castillos mejores
30
:
Que nuestros jardines son,
^^
fl
Y son mSs bellas tus flores.
■
■
Tor ser tuyas, en Le<5n,
n
■
Y til diste tus amores
A alguno de tus guerreros,
=s
HuridelEd^n, nollores;
Vete con tus caballeros. —
Y ddndola su caballo
Y la mitad de su guardia
^H
J
^^^^1
■
£1 capit^D de los moros
Vo]vi6 ea sUencio la espalda.
INDECISI6N
;Belio es vivir, la vida es la armonla!
Luz, peiiascos, torrentcs y cascadas,
Uo sol de fuego iluminando el dia,
Aire de aromas, flores apifiadas:
Y en medio de la noche majestuosa
Esa luna de plala, esas eslrcUas,
LSmparas de la tierra ]jerezosa.
Que se ha dormido en paz debajo de ellas.
jBello es vivir! Sc ve en el horizonte
Asomar el crepuscuio que nace;
Y la neblina que corona el monte
En el aire Hotando se deshace;
Y el inmenso tapiz del firmamento
Gambia su azul en franjas de colores;
Y susuiran las hojas en el viento,
Y desatan su voz los ruisenores.
Si hay huracanes y aquiUin que drama,
Si hay un inviemo de humedad vestido.
Hay una hoguera S. cuya roja llama
Se alza un festin con su discorde ruido.
V una pintada y fresca primavera.
Con su manto de luz y orla de flores.
w
■ Qui
V Doi
ZORRILLA
Que cubre de verdor la aocha prac
Donde brotan arroyos saltadores.
iBeUces vivir, la vida e
Luz, penascos, torrentes y tascadas,
Un sol de fuego iluminando el dia,
Aire de aromas, flores apinadas.
Arranca, arranca, Dios mio,
De la mente del poeta
Este pensamiento impid
Que en un delirio cred;
Sin un instante de calma,
En su olvido y amargura,
No puede soiiar su alma
Placeres que no gozd.
jAy del poeta! su Uanto
Fu^ la inspiracidn sublime
Con que arrebato su canto
Hasta los cielos tal vez;
Solitaria flor que e! viento
Con impuro soplo azola, ■
£l arrastra su tonnentu
Escrito sobre la tez.
Porque tu, joh Dios! le robaste
Cuanto los hombres adoran;
Tu en el mundo le arrojaste
Para que muriera en el;
Tii le dijiste que el hombre
espaSa
Era en la tierra su hermano;
Mas el no encuentra ese nombre
En sus recuerdos de hiel.
Tu le has dicho que cligiera
Para el viaje de la vida
Una hermosa compafiera
Con quien partir su dolor;
Mas ;ay! que la busca en vano;
Porque es para e! ser que a ma
Como un inmundo gusano
Sobre el tallo de una flor.
Canta la luz y las flores,
Y el amor en las mujeres,
Y el placer en los amores,
Y la calma en el placer:
Y sin esperanea adora
Una belleza escondida,
Y hoy en sus canlares llora
Lo que alegre cantd ayer.
£l con los siglos rodando
Canta su af^n S. los sigjos,
Y los siglos van pasando
Sin curarse de su afdn.
jMaldito el nombre de gloria
Que en tu c61era le diste!
Sentados en su memoria
Recuerdos de hierro estin.
El dia a) umbra su pena,
La noche alarga su duelo,
r
ZORRILLA
ora escribe en el cielo
Su sentencia de vivir:
Fdbulas son los placeres,
No hay placeres en su almii,
No hay amor en las mujeres,
Tarda la hora de morir.
Hay sol que alumbra, mas quema:
Hay flores que se marchitan,
Hay recuerdos que se agitan
Fantasmas de maldicidn.
Siti
z que canta,
Al arrancaria del pecho
Deja fuego en la garganta,
Vacio en el corazAn.
jBello es vivir! Sobre gigante roca
Se mira el tnundo d nuestros pies tendido,
La freote altiva con las nubes toca . . .
Todo creado para el hombre ha sido.
jBello es vivir! Que el hombre descuidado
En los bordes se duerme de la vida,
V de locura y suefios embriagado
En un festln el porvenir olvida.
iBello es vivir! Vivamos y canlemos:
El tiempo enlre sus pliegues roedores
Ha de Uevar el bien que no gocemos,
V ha de apagar placeres y dolores.
Cantemos de nosotros olvidados,
Hasta que el son de la fatal campana
^
I
Toque & morir , , . Cantemos descuidados,
Que el sol de ayer no alumbrara manana.
LA FUENTE
Huye la fuente al manantial ingrata
El verde musgo en derredor lamiendo,
Y el agua limpia en su crista! retrata
Cuanto va viendo.
El c&ped mece y las arenas moja
Do mil caprichos al pasar dibuja,
Y ola tras ola murmurando arroja,
Riza y empuja.
Lecho muUido la presenta el valle,
Fresco abanico el abedul pomposo,
Caiias y juncos retirada calle,
Sombra y reposo.
Brota en la altura la fecunda fuente;
,; Y a que su empefio, si al bajar la cuesta
Halla del rio en el raudal rugiente
Tumba funesta ?
A BUEN JUEZ MEJOR TESTIGO
Ttadicidn de Toledo
Entre pardos nubarrones
Pasando la blanca luna,
Con resplandor fugitivo,
uidados, ^^^^
in ana. ^^^H
r
ZORRtLLA
La baja tierra no alumbra.
La brisa con frescas alas
Juguetona no murmura,
Y las veletas no giran
Entre la cruz y la cupula.
Tal vez un p£lido rayo
La opaca atmdsfeca cruza,
Y unas en otras las sombras
Confundidas se dibujan.
Las almenas de las torres
Un momento se ct.lumbran,
Como lanzas de sotdadus
Apostados en la allura.
Reverberan los cristales
La tr^mula Jlama turbia,
Y un instante entre las rocas
Riela la fuente oculta.
Los Alamos de la vega
Parecen en la espesura
De fan (asm as apinados
Medrosa y gigante turba;
Y alguna vez desprendida
Gotea pesada lluvia,
Que no despietta d quien duerme,
Ni 6. quien medita importuna.
Yace Toledo en el sueno
Entre las sombras confusa,
Y el Tajo & sus pies pasando
Con pardas ondas la arrulla.
El mon<5toiio murmuUo
Sonar perdido se escucha,
CuaJ si por la3 hondas calles
Hirviera del mar la espuma.
\Qu6 duke es dormir en calma
Cuando S lo lejos susurran
Los fiiamos que se mecen,
Las aguas que se derrumban!
Se suenan bellos fantasmas
Que el sueno del triste endulzan
Y en tanto que suena el triste,
No le aqueja su amargura.
Tan en calma y tan sombrfa
Como la noche que enluta
La esquina en que desemboca
Una callejuela oculta,
Se ve de ud hombre que aguard;
La vigilante figura,
Y Ian a la sombra vela
Que entre la sombra se ofusca.
Frente por frente d sus ojos
Un balcdn d poca altura
Deja escapar por los vidiios
La luz que dentro le alumbra;
Mas ni en el claro aposento,
Ni en la callejuela obscura
El silencio de la noche
Rumor sospechoso turba.
Pas6 asl tan largo tiempo.
^
H
ZORRILLA
Que pudiera haberse duda
hombre, 6 solamente
Mendda ilusion noctuma;
Peru es hombre, y bien se ve,
Porque con piania segura
Ganando el centro £ la calle
Resuelto y audaz pregunta:
— |J Qui^n va ? — yd corta distancia
El igual compas se escucha
De un caballo que sacude
Las sonoras herraduras.
^Qui^nva? repite, y cercana
Otra voz menos robusta
Responde: — Un hidalgo jcalle!
Y el paso el bruto apresura.
— Tengase 1 1 dalg — el hombre
Replica, y la pad mj. una.
— Vedma b n ml m calle
(Repusieron n m u )
Que hasta h y a nad e se tuvo
Iban de \ argaa y Atuna.
— Pase el Acuna y perdone; —
Dijo el mozo en faz de fuga,
Pues teni^ndose el embozo
Sop la un silbato, y se oculta.
Par6 el jinete i una puerla,
Y con precaucion difuaa
Sali6 una niiia al balcon
Que llama interior alumbra.
35
J
r
ESPASA
— iMipadre!^clamden
Y el viejo en la cerradura
Metid la Have pidiendo
A sus gentes que le acudan.
Un negro por ambas bridas
Tom6 la cabalgadura,
Cerrdse detrds la puerta
Y quedo la calle muda.
En esto desde el balcon,
Corao quien tal acostumbra,
Un mancebo por las rejas
De la calle se asegiira.
Asio el brazo al que apostad
Hizo cara a Iban de Acuna,
Y huyeron, en el embozo
Velando la catadura.
Clara, apacible y Serena
Pasa la siguiente tarde,
Y el soi tocando su ocaso
Apaga su luz giganle:
Se ve la imperial Tiiiedn
Dorada por los remates,
Corao una ciudad de gran a
Coronada de crislales.
El Tajo por entre rocas
Sus anchos cimientos lame,
Dtbujandu en las arenas
r
ZORRILLA
Las ondas con que las bate.
V la ciudad se retrata
En las ondas desiguales,
Como en prendas de que el rio
Tan afanoso la bafie.
A lo lejos en la vega
Tiende galdn por sus mSrgenes,
De sus dlamns y huertos
El pintoresco ropaje,
V porque su altiva gala
M£s & los ojos halague,
La salpica con escombros
De castillos y de alcdzares.
Vn recuerdo es cada piedra
Que toda una historia vale,
Cada colina un secreto
De principes 6 galanes.
AquI se band la hermosa
Por quien dejo su rey culpable
Amor, fama, reino y vida
En manos de musulmanes.
All! recibid Galiaoa
A su receloso amante
En esa cuesta que entonces
Era un plantel de azahares.
A115 por aquella torre,
Que hicieron puerta los ^rabes,
Subid el Cid sobre Babieca
Con su gente y su estandarte.
fi se ve el Castillo ^^^^H
Servando, 6 Cervantes ^^^^|
ada se hizo nunca ^^^1
k
Mds lejos se ve el castillo
De San Serv'ando, 6 Cervantes
Donde nada se hizo nunca
Y nada al presente se hace.
A este lado est^ la almena
Por do saco vigilante
El conde Don Peranzules
Al rey, que supo una tarde
Fingir tan tenaz modorra,
Que, politico y constante,
Tuvo siempre e! brazo quedo
Los palm as al horadarle.
Alli esti el circo romano,
Gran cifra de un pueblo grande,
Y aqu! la antigua Basilicu
De bizantinos pilares,
Que oy6 eo el primer concilio
Las palabras de los Padres
Que velaron por la Iglesia
Perseguida 6 vacilante.
La sombra en este momento
Tiende sus tvirbios cendales
Por tod as esas memorias
De las pasadas edades,
Y de! Cambri'm y Visagra
Los caminos desiguales.
Camino d los Toledanos
Hacia las murallas abren.
Los labradores se acergan
^^^^V ZORRILLA
..1
^H Al fuego de sus hogares,
^^M Cargados con sus aperos,
^^M Cansados de sus afanes.
\
^^M Los ricos y sedentarios
^f Se tornan con paso grave.
S
Calado el ancho sombrero,
Abrochados los gabanes;
Y los cMrigos y monjes
1
y los prelados y abades
Sacudiendo el leve polvo
to
De capelos y sayales.
Que'dase solo un mancebo
De impel uosos ade manes,
Que se pasea ocultando
Entre la capa el semblante.
•s
Los que pasan le conlemplan
!
Con decision de evitarle.
Y ^1 contempla d los que pasan
Como si 5 alguien aguardase.
^^ Los timidos aceleran
ao '1
^L Los pasos al divisarle.
^^1 Cual temiendo de seguro
^H Que ies proponga un combate;
^H Y los valientes le miran
^H Cual si sinderan dejarle
»5 \
^H Sin que Ubres sus estoques
i
^H £n rifla sonora dancen.
1
^^M Una mujer tambien sola
1
^^^^^ Se viene el llano adelante.
m
r.
espaRa
La luz del rostro escondida ||
En tocas y tafetanes. i
Mas en lo leve del paso,
Y en lo flexible del lalle,
s
Puede A traves de los vclos
Una hermosa adivinarsc.
Vase derecha al que aguarda,
Y el al encuentro la sale
Diciendo . . . cuanto se dicen
JO
En las citas los amantes.
Mas ella, galanterias
Dejando severa aparte.
Asl al mancebo interrumpe
En voz decisiva y grave :
"S
"Abreviemos de razones,
Diego Martinez; mi padre,
Que un hombre ha enlrado en su ausencia
Dentro mi aposento sabe:
Y asi quien mancha mi honra,
lO
Con la suya me la lave ;
0 dadme mano de esposo,
6 libre de vos dejadme.'
^H
MIr61a Diego Martinez
^B
Atentamente un instante,
^^Li)5
Y echando d un lado el embozo.
^^_lj^^^
Repuso palabras tales;
^^^^^^^
"Dentro de un mes, Info niia, '
■
Parto i la guerra de Flandes; 1
■
ZORRILLA
Al ano estar^ de vueita
Y contigo en los altares.
Honra que yo te desluzca,
Con honra tnia se lave;
Que por honra vuelven honra
Hidalgos que en honra nacen.
— Jiiralo, — exclanio la nifla.
— Mis que mi palahra vale
No te valdra un juramento.
— Diego, la palabra es aire.
— jVive Dies que estas tenaz!
Dalo por jurado y baste.
— No me basla; que olvidar
Puedes la palabra en Flandes.
— j Voto i. Dios ! i que mas pretendes ?
— Que d los pies de aquella imagen
Ix) jures como cristiano
Del santo Crislo delante. *
Vadl6 un punto Martinez,
Mas porfiando que jurase,
Llev61e Ini5s hacia el tempio
Que en medio la vega yace.
Enclavado en un madero.
En duro y postrero trance,
Cei^ida la sien de espinas,
Descolorido el semblante,
Vlase aill un crucifijo
Tenido de negra sangre,
A quien Toledo devota
96
ESPAftA ^^^^^Hj^
Acude hoy en sus azares.
Ante sus plantas divinas 1,
Llegaron ambos amanles,
Y haciendo In^s que Martinez
5
Los sagrados pies locase,
Preguntdle:
— Diego, ^juras
A tu vuelta desposarme ?
Contesto el mozo: i
-iSijuio!
Y ambos del templo se salen.
„
Pasi5 un dia y otro dia,
Un mes y otro mes pasi5, ',
Y un ano pasado habia, '
Mas de Flandes no volvia
Diego, que & Flandes partid.
15
Lloraba la bella Ines
Su vuelta aguardando en vano,
Oraba un mes y otro mes
Del crucifijo a los pies
Do puso el galSn su mano. ,
lO
Todas las tardes venia
Despues de traspuesto el sol,
Y a Dios Uorando pedia
La vuelta del espanol, |
Y el espanol no volvta. \
B
Y aiempre al anocbecer,
1
1
r
ZORRILLA
Sin duefia y sis escudero,
£n un manto una mujer
EI campo salta i ver
Al alto del Miradero.
jAy del triste que consume
Su existencia en esperar!
jAy del triste que presume
Que el duelo con que el se abrume
Al ausente ha de pesarl
La esperanza es de los cielos
Precioso y funesto don,
Puea los amantes desvelos
Cainbian la esperanza en celos.
Que abrasan el corazon.
Si es cierto lo que se espera,
Es un consuelo en verdad;
Pero Kendo una quimera,
En tan fr^gil realidad
Quien espera desespera.
Asf Inf s desesperaba
Sin acabar de esperar,
Y su tea se marchitaba,
Y su Uanto se secaba
Para volver tt brotar.
En vano a su confesor
Pidio re medio 6 consejo
Para aliviar su dolor;
Que mat se cura el amor
Con las palabras de un viejo.
^
98
espaNa
En vano i Iban acudia,
Llorosa y desconsolada;
El padre no respondia;
Que la lengua le tenia
5
Su propia deshonra atada.
Y ambos maldicen su estrella,
Callando el padre severe
Y suspirando la bella,
Porque naci6 mujer ella,
Y el viejo nacid altanero.
Dos anos al im pasaron
En esperar y gemir,
Y las guerras acabaron,
Y los de Flandes tomaron
IS
A sus tierras i vivir.
Pasd un dia y olro dia,
Un mes y otro mes pasd,
Y el tercer ano corria;
Diego d Flandes se partid,
ao
Mas de Flandes no volvla.
Era una tarde serena,
Doraba el sol de occidente
Del Tajo la vega amena,
Y apoyada en una almena
as
Miraba In^s la corriente.
Iban las tranquilas olas
Las riberas azotando
fiajo las murallas solas,
Musgo, espigaa y amapolas
i
^^^^f
1
^^^^^^r
" 1
Ugeramente doblando.
1
Algun olmo que escondido
Credo eatre la hierba blanda,
Sobre las aguas tendido
Se reflejaba perdido
5
En su cristaiina banda.
Y algun ruisenor colgado
1
Entre su fresca espesura
Daba al aire embalsamado
Su c£ntico regalado
lO
Desde la enramada obscura.
Y algiin pez con cien colores,
Tornasolada la escama,
i
Saitaba a besar las flores,
II
Que eshalan gralos olores,
IS
A las puntas de una rama.
V alld en el tr^mulo fondo
El torredn se dibuja
Como el contomo redondo
Del hueco sombrfo y hondo
ao
Que habita nocturna bruja.
1
Asf la niria lloraba
El rigor de su fortuna,
Y asl la tarde pasaba
Y al horizon te trepaba
»5
La consoladora luna.
A lo lejos por el llano
Enconfusoremoliio
ViiS de hombres tropel lejano
^
100
ESFARA ^^H
Que en pardo poivo liviano
Dejan envuello cl camino.
Baj<5 In^s del torretin,
Y Uegando recelosa
5
A las puertas del CambnSn,
Sintio latir zozobrosa
Mis inquieto el coraain.
Tan galan como altanero
Dejd ver la eseasa luz
ID
For bajo el arco primero
Un hidalgo caballero
En un caballo andaluz;
Jubon negro acucbillado,
Banda azul, lazo en la bombrera,
J5
V sin pluma al diestro lado
El sombrero derribado
Tocando con la gorguera;
Bombacho gris guaroecido,
Bota de ante, espuela de oro,
30
Hierro al cinto suspendido,
Y S. una cadena prendido
Agudo cuchillo moro.
Vienen tras este jirete
Sobre potros jcrezanos
as
De lanceros hasta siete,
Y en adarga y coselete
Diez peones castellanos.
Asi<5se 4 su estribo Infe
B
Gritando: — jDiego, eres tli! —
^^^^m loi
Y €1 vidndoia de Ij-av^s
Dijo — jVotodBekebii,
Que no me acuerdo'tidit^lves! —
Diola trisle un alanda
Tal respuesta al escuchar, . 5
Y a poco perdiu el senlida,
Sin que mds voz ni gemido
Volviera en tieira a exhalar.
Fninciendo ambas d dos cejas J
Encomenddla d su genie, 19.. ]
Diciendo: — jMalditas viejas ',■''.-'-. ■
Que a las mozas malamente
Enloquecen con consejas! —
Y aplicando el capitin
A su potro las espuelas 15
El rostro a Toledo dan,
V i trote cnizando van
Las obscuras callejuelas.
Asl por sus alios fines
Dispone y permite ei cielo 30
Que puedan mudar al hombre
Fortuna, poder y ticmpo. ^^^H
A Flandes pardti Martinez ^^^M
De soldado avenlurero, ^^^B
Y por su suerte y hazaftas aj
Alii capitdn !e liicieron.
Segun alzaba en honores
^
I03
s
es.?aSa
Alzdbase-cn pensamientos,
Y tant-T ayudd en la guerra
Con^u valor y akos hechos,
QW el mismo rey i su vuelta
le armo en Madrid caballero,
Tomdndole i su servicio
Por capilin de lanceros.
Y otro no fu^ que Martinez
Quien ha poco entr6 en Toledo,
'5
Tan orguUoso y ufano
Cual sali(5 humilde y pequefio.
Ni es otro i quien se dirige,
Cobrado el conocimiento,
La amorosa In& de Vargas,
Que vive por el muriendo.
Mas ^1, que olvidando todo
Olvidd su nombre mesmo,
Puesto que hoy Diego Martinez
Es el capitan Don Diego,
Ni se ablanda A sus caricias,
Ni cura de sus lamentos;
Diciendo que son locuras
De gentes de poco seso;
Que ni ^1 prometio casarse
as
Ni pensd jamis en ello.
jTanto mudan i los hombres
Fortuna, poder y tiempol
En vano porfiaba InSs
Con amenazas y niegos}
1
^^^^^P ZORRILLA
103 ^^M
^^F Cuanto mds elk importuna
■
^H Estd Martinez severo.
^^M Abrazada A sus rodUlas
*
^^H Enmaranado el cabello,
^^H La hermosa nina Uoraba
5
^^H Prostemada por e) suelo.
^^B Mas todo empeiio es inucil,
1
^^H Porque el capltdn Don Diego
1
^^M No ha de ser Diego Martinez
^^H Como Id era en otro liempo.
10
^^K Y asi Ilamaodo i su gente,
^^M De amor y piedad ajeno,
^H Mand61es que i. Ine's llevaran
1
^^H De grado 6 de valimiento.
1
^^H Mas ella antes que la asieran,
15
^^M Cesaodo un punto en su duelo,
^^H Asf hablo, el rostro Ibroso
^^M Hacia Martinez volviendo:
^^H *Contigo se fue mi honra,
^^H Conmigo tu juramento;
39
^^H Pues bueaas prendas son ambas,
^H En buen fiel las pesaremos. >
t
^^H Y la faz descolorida
1
^^H En la mantilla envolviendo,
^^H A pasos desatentados
JS
^^B Sali6se del aposento.
1
104
^^H
Era entonces de Toledo
Per el rey goberaador
El jusliciero y valiente
Don Pedro Ruiz de Alarcon.
s
Miichos anos por su patria
El buen viejo peled;
Cercenado tiene un brazo,
Mas entero el corazon.
La mesa tiene delante,
lO
Los jueces en derredor,
Los corchetes d la puerta
Y en la derecha el bastdn.
Estd, como presidente
Del tribunal superior,
'S
Entre un dosel y una alfombra
Reclinado en un sillon,
Escuchando con paciencia
La casi asmatica voz
^H
Con que un letrico escribano
B"
Solfea una apelacion.
■
Los asistentes boslezan
■
Al murmullo arrullador,
■
Los jueces medio dormidos
■
Hacen pliegues a! ropon,
^ .!
Los escribanos repasan
Sus pergaminos al sol,
IL
Los corchetes a una moza
1
ZORRILLA los
Guiiian en un corredor,
Y abajo en Zocodover
Gritan en discorde son
Los que en el mercado venden
Lo vendido y el valor. 5
Una mujer en tal punto,
En faz de grande afliccidn,
Rojos de Uorar los ojos,
Ronca de gemir la voz,
Suelto el cabello y el manto, 10
Tomd plaza en el saldn
Diciendo i gritos: *; Justicia,
Jueces; justicia, senorl*
Y i los pies se arroja humilde
De Don Pedro de Alarcdn, 15
En tanto que los curiosos
Se agitan al rededor.
Alzdla cort^s Don Pedro
Calmando la confusion
Y el tumultuoso murmullo 20
Que esta escena ocasiond,
Diciendo:
— Mujer, £ qu^ quieres ?
— Quiero justicia, senor.
— ^ De qu^ ?
— De una prenda hurtada.
— (iQu^ prenda? 25
— Mi corazdn.
— <iTdlediste?
io6
ESPAlitA ^^H
— Le presto.
— ^ Y no te le han vuelto ?
-No.
— ^Tienes testigos?
— Ninguno.
— ^Ypromesa?
— iSi, porDios!
Que al partirse de Toledo
S
Un juramento empeno.
~ i Qm6a es ^1 ?
— Diego Martinesi.
— £ Noble?
— Y capitan, seiior.
— Presentadme al capitan.
Que cumpliri si juro. —
lO
Qued(5 en silencio la sala.
Y i. poco en el corredor
Se oyd de botas y espuelas
El acompasado son.
Un portero, levantando
■S
E! tapiz, en alta voz
Dijo: — El capitan Don Diego. —
Y entro luego en el saldn
Diego Martinez, los ojos
Llenos de orguUo y furor.
to
— I Sois el capitan Don Diego, ,
DIjole Don Pedro, vos ? ~
Contestd allivo y sereno '
B
Diego Martinez:
1
r
ZORRILLA
— I Conoc^is i esta muchacha ?
— Ha tres afios, saivo error.
— I Hicisteisia juramento
De scr su marido i —
— No.
— } Juriiis no haberlo jurado?
— Sf juro. —
■ — Pues id con Dios.
— [Miente! — clamiS Iq^s llorando
De despecho y de rulwr.
■ — Mujer, ipiensa lo que dices! . . .
— Digo que miente, jurd.
— ^Tienes testigos ?
— Ninguno.
— Capitdn, idos con Dios,
Y dispeosad que acusado
Dudara de vuestro honor. —
Tomd Martinez la espalda
Con brusca satisfaccion,
£ Ines, que le vio partirse,
Resuelta y firme gritd:
— Llamadle, tengo un testigo.
Llamadle otra vez, senor, —
Volvio el capitSn Don Diego,
Seniose Ruiz de Alarci5n,
La muititud aquietdse
Y la de Vai^as siguio:
— Tengo un testigo k quien nunca
1
loS
5
ESPARA
Falt6 verdad ni razt5n.
— ^Qui^Q?
— Un hombre que de lej'os
Nuestras pal a bras oyo,
Mirindonos desde arriba.
— ^ Estaba en algun balcon ?
— No, que estaba en un suplicio
Donde ha tiempo que expire.
— ;Luego es muerto?
— No, que vive.
-Estaisloca, i^-iveDios!
^Quieofue?
— El Cristo de la \'ega
A cuya faz perjure. —
Pusi^rense en pie los jueces
Al nombre del Redentor,
Escuchando cod asombro *
IS
Tan excelsa apelacion.
Reind un profundo silencio
De sorpresa y de pavor,
V Diego bajo los ojos
De vergiienza y confusion.
Un instante con los jueces
Don Pedro en secreto hablo,
V levantose diciendo
Con respeluosa vozi
' La ley es ley para todos,
1
35
Tu testigo es el mejor,
Mas para tales tesdgos
i
^^^^F
1
^^^^^r ZORRILLA 109
^H No hay mis tribunal que Dios.
^^f Haremos . . . lu que sepamos;
Escribano, alcaerelsol
Al Cristo que esta en la vega
Tomar^is declaracido. •
5
Es una tarde serena,
Cuya luz tomasolada
Del purpurino horiamte
Blandamente se derrama.
Placido aroma las (lores
10
Sus hojas plegando exhalao.
y el cefiro entre perfumes
Mece las tr^mulas alas.
Brillan abajo en el valle
Con suave rumor las aguas,
IS
Ylasavesenlaorilla
Despidiendo al dfa cantan.
Alia por ei Miradero
For el CambnSn y Visagra
Confuso tropei de gente
ao
Del Tajo it la vega baja.
Vienen delante Don Pedm
De Alarcon, Ibiin de Vargas,
Su hija Infe, los escribanos,
Los corchetes y los guardias;
'5
Y detras monjes, hidalgos,
Mozas, chicos y caoalla.
^
1
espaSa
Otra turba de curiosos
En la vega les aguarda,
Cada cual comentariando
El caso seguQ le cuadra.
1
$
Entre ellos estS. Martinez
En apostura bizarra,
Calzadas espuelas de ora,
Valona de encaje blanca,
Bigote & la borgoiiona,
Melena desmelenada,
El sombrero guarnecido
Con cuatro lazos de plata,
Un pie delante del oiro,
Y el puno en el de la espada.
i'
'S
Los plebeyos de reojo
Le miran de entre las capas,
Los chicos al uniforme
Y las mozas a la cara.
Llegado el goberaador
Y gente que le acompaiia,
Entraron todos al claustro
Que iglesia y palio separa.
Encendieron ante el Cristo
Cuatro cirios y una limpara.
«s
Y de hinojos un momento
Le rezaron en voz baja.
Estd el Cristo de !a Vega
La cruz en tierra posada,
Los [lies alzados del suelo
A
ZORRILLA
Poco menos de una varaj
Hacia la severa imagea
Un notario se adelanta,
De modo que con el rostro
AI pecho sanlo llegaba,
A un lado tiene i Martinez,
A otro lado £ In^s de Vargas,
Detr£s al gobernador
Con sus jueces y sus guardias.
Despuds de leer dos veces
La acusaciijn entabJada,
El notario d Jesucristo
As! demandfi en voz alta:
— "JesHs, Hijo de Maria,
'Ante nos esUi maHana
*Cilado como testigo
"For boca de ItUs de Vargas,
"iJuriis ser cierlo que un dta
' A vuestras divtnas plantas
"Jurd d ItUs Diego Martinez
*Por su mujer desposarla?*
Asida i un brazo desnudo
Una mano atarazada
Vino d posar en los autos
La seta y hendida palma,
Y alls en los aires ' ; St jueo ! '
Clani6 una voz mas que human
Alzo la turha medrosa
La vista i. la imagen santa . . .
1
^'4
Los labioa tenia abiertos,
Y una mano desclavada.
CONCLUSION
Las vanidades del mundo
Renuncio alii mismo Ines,
Y espantado de si pro])io
Diego Martinez tarn bi en.
Los escribants temblando
Dieron de esta escena fe,
Firmando como testigos
Cuantos hubieron poder.
Funddse un ani versa tio
Y una capilla con el,
Y Don Pedro de Alarcdn
El altar ordenO hacer,
Donde hasta el tiempo que co
Y en cada un ano una vez,
Con )a mano desclavada
El crucifijo se ve.
DON ANTONIO DE TRUEBA
CANTOS DE PAJARO
Tengo yo un pajarillo
Que el dia pasa
Cantando enlre las Horcs
De mi ventaoa;
^^^^^f
M
^^F ¥ un canto alegre
m
^^M A todo pasajero
^H Dedica siempre.
^^^
^^M Tiene mi pajarillo
1
^^M Siempre armonias
s >
^^H Para alegrar el alma
^H Del que camina . . .
^H lOhcielosaDlo,
^H Por que no harSn ios hombres
^^M Lo que Ios p^jarus!
ID
^H Cuando mi pajarillo
^V Canlos entona, 1
^^^^^^H
^M Pasajeros ingratos ■
^^^^^^1
^H Cantos le arrojan: ^
^^^^^^1
^K Mas DO por eso
^^^
^B Niega sus armonias
^V Al pasajero.
*
Tiende las leves alas,
Cruza las nubes
Y cania junto al cieJo
M 1
^m Con voz mis duke:
.^
^^ "Paz a. Ios hombres
"fl
^H ¥ gloria al que en la altura
^1
^^B Rige Ios orbes! *
^
^^M ¥ yo sigo el ejemplo
« 1
^H Del ave mansa
^^M Que canta entre las Sores
i
^^M De mi ventana,
^^P Forque es sabido
^
Que poetas y pdj'aros
Somos !o mismo.
LA PEREJILERA
Al salir el sol dorado
Esta manana te vt
Cogiendo, nina, en lu huerto
Matitas de perejil.
Para verte mds de cerca
En el huerto me meti,
V sabrds que eche de menus
Mi coraaSn al salir.
Tu debiste de encontrarie,
Que en el huerto le perdi.
'DSmele, perejilera,
Que te le vengo d pedir,'
DON JOSE SELGAS Y CARRASCO
LA MODESTIA
Por las Hores proclamado
Rey de una hermosa pradera,
Un clavel afortunado
Di6 principio a su reinado
A! nacer la primavera.
Con majestad soberana
Llevaba y con noble brfo
£1 regio manto de grana,
r
I
SELGAS
Y sobre la frcnte ufana
La corona de rocio.
Su comitiva de honor
Mandaba, por ser costumbre,
El c^firo volador,
Y habia en su servitiumbre
Hierbas y malvas de olor.
Su voluntad poderosa,
Porque tambi^n era uso,
Quiso una flor para esposa,
Y regiamente dispuso
Elegir la maa herraosa.
Como era costumbre y ley,
Y porque causa deiicia
En la numerosa grey,
Pronto corrW la noticia
Por los estados del rey.
Y en revuelta actividad
Cad a flor abre el arcano
De su teeunda beldad,
Por prender la voluntad
Del hermoso soberano,
Y hasta las menos apuestas
Engalanarse se vian
Cod harta envidia, dispuestaa
A ver las solemnes fiestas
Que celebrarse debian.
Lujosa la Corte brilla:
El rey, admirado, duda,
1
ii6
s
ESPANA
Cuando ocultarse sencUla
Vid una tierna florecilla
Entre la hierba menuda.
V por si el regio esplendor
Dc su corona le inquiela,
Pregiintale con amor:
— » i Como te llamas :-" — " Violeta, '
Dijo temblando la flor.
- VYteocuKascuidadosa
V no luces tus colores,
Violeta dulce y medrosa,
Hoy que entre todas las (lores
Va el rey a elegir esposa?"
Siemprc temblando la flor,
IS
Aunque llena de placer,
Suspird y dijo : — ' Senor,
Yo no puedo merecer
Tan distinguido favor."
El rey, suspense, la mira
Y se inclina dukemente;
Tanta modestia le admira;
Su blanda escncia respira,
Y dice alzando la frentc:
' Me depara mi ventura
as
Esposa noble y apuesta ;
1
F
Scpa, si alguno murmura,
Que la mejor hcrmosura
Es la hermosura modesta. *
Dijo, y el aura atanosa
Publico en forma de ley,
Con V02 dulce y melodiosa,
Que la violeta es la esposa
Elegida por el rey.
Hubo magnlficas fieslas,
Ambos esposos se dieron
Prucbas de amor manifiestas,
V en aquel reinado fueron
Todas las flores modestas.
DON PEDRO A. DE ALARCON
EL MONT-BLANC
jHeme al fin en la cumbre soberana! . . .
■[Nieve perpetua . . ., soledad doquiera! . . .
I Quien sine el horabre, en su soberbia insana,
A hollar estos desiertos se atreviera i
Aqui enmudece hasta la voz del viento . . .;
Profundo mar parece el horizonte . , .,
Cnica playa el alto firmamento , , .,
Aoclada nave el solitario monte.
i Nada en tomo de mi ' . . . jTododmlsplanias!
ii8
espaiqa ^^^I
Obscures bosques, relucientes rios,
Lagos, Campinas, paramos, gargantas ... ,
[Europa entera yace a los pies raios! J
j V cuan pequena la terrestre vida,
S
Cuan relegado e! humanal imperio
Se ve desde estos hielos donde anida
-
EI Monte Blanco, el rey del hemisferio!
jDe aqut tiende su cetro sobre el mimdo!
El Danubio opulento, el Po anchuroso,
lo
El luengo Rhin y el R6dano profundo,
Hijos son de los hijos del Coloso.
Debajo de ^1 . . . los Ajpes se eslabonan
Como escabeles de su trono inmenso:
Debajo de ^1 ... las nubes se amontonan
'S
Cual humo leve de quemado incienso.
i Sobre ^1 ... los cielos nada mis! La tarde
Le invidia al verlo de fulgor cefiido . . .
Llega la noche, y atin su frente arde
Con reflejos de un sol por siempre liundido.
30
Aiia turnan con raudo movimiento
Una y otra estacifin . . . £l permanece
Mudo, inmdvil, est^ril. , Monumento
De la implacable eternidad parece!
Ni el oso atroz ni el traicionero lobo
25
Huellan jamds su excelsitud nevada . .
HiJeriano vive del calor del globo . . .
jEn & principia el reino de la nadal
Por eso, ufano de su horror profundo.
■
Dichoso aqu! mi coraziSn palpita . . .
1 1
p
^m iAqu
^f I Soto
alarcOn
I
Aquf solo con Dios . . ., fuera del tnuado!
Soto, bajo la b6veda infmila!
Y qu^ siiave, deleitosa calma
Brinda d mi pecho esta regi6n inerte! . . .
Asl concibe fatigada el alma
El tardo bien de la benigna muerte.
jMorir aquil De los poblados valles
No retomar a la angustiosa vida:
No escuchar mis los lastimosos ayes
De la cuitada humanidad c^da:
Desparecer, huyendo de la tierra,
Desde esta cima que se acerca al cieio:
Por siempre desertar de aquella guerra,
De eterna libertad tendiendo el vuelo . . .
Tal ansia acude al corazt^n llagado,
Al mirarte, joh Mont-Blanc/, erguir la frente
Sobre un misero mundo atribulado
Por el cierzo y el rayo y e! torreote.
jTu nada temes! De tu imperio yerto
Solo Dios es sefior, fuerza y medida:
jCdmo el ancho Oc^ano y el Desierto,
Tli vives sdlo de tu propia vida!
La tierra acaba en tu glacial palacio;
Tuya es la azul inraensidad aerea;
Tu ves mds luz, mis astros, mds espacio . . . ;
jParte eres ya de la mansion eterea!
(Adids! Retorno al mundo . . . Acaso un d'
Ya de la tierra el corazon no lata,
y sobre su haz inanimada y frfa
ESPAfiA
Tiendas tu manto de luciente plata . . .
Serd entonces tu reino silencioso
Cuanto hoy circunda y cubre e! Oceano . .
jAdids! . . . Impera en tanto desdenoso
Sobre la insania del orgullo humano.
EL SECRETO
S^ — Dice la nJAa, -^ "
^ Tendiendo hacia su madre
V Dos manecitas -l-'rt.
J Calenturientas, ^^A
i Cual dos blancos jasmines
7 Que el viento seca . . . -^
Un silencio de muerte
La madre guarda , . .
jAy! ;si hablara, verliera
Mares de lagrimas!
Besa i la niiia,
jY aun le fingen sus labios
Una Bonrisal
Del cuello de la madre
La hij'a se cuelga
■ Y, pegada a su oido,
Palida y treniila,
Con sordo acento,
DIcele horrorizada:
— > Oye un secreto:
{
BfiCQUER 121
I Sabes por qui d marirme
Le tento tanlo ?
Porque Itiego me llevan,
Toda de bianco ,
Al cementerio . . ., 5
jY de verme alii sola
Va d dartne miedoP
— ^Hija de mis entranas I
(Grita la madre)
Dies querrd que me vivas . . .; 10
F, aunqiie te mate,
Descuida, hermosa;
Que tH en el cementerio
A^o estards sola, •
DON GUSTAVO ADOLFO BfiCQUER
RIMAS
II
Saeta que voladora 15
Cruza, arrojada al azar,
Sin adivinarse donde
Temblando se clavara;
Hoja que del arbol seca
Arrebata el vendaval, 20
Sin que nadie acierte el surco
Donde d caer volverd;
Gigante ola que el viento
.„
espaNa ^^V^^^^^
Riza y empuja en el mar,
Y rueda y pasa, y no sabe
Qu^ playa buscando va; ,'
Luz que en cercos tembloroaos
s
Brilla, prfixima S. expirar, '|
Ignordndose cudl de ellos
El ultimo briliard;
Eso soy yo, que al acaso
Cruzo el mundo, sin pensar
lO
De ddnde vengo, ni addnde
Mis pasos me llevardn.
Del sal6n en e! Angulo obscuro,
De su duefto tal vez olvidada,
Silenciosa y cubierta de polvo
15
Velase el arpa.
jCuSnta nota dormia en sus cuerdas.
Como e! pijaro duerme en las ranias,
Esperando la mano de nieve
Que sabe arrancarlas!
30
jAy! pens^; jcuantas veces el genio
Asi duerme en el fondo del alma,
Y una voz, como Ldzaro, espera
Que le diga: •Levdntate y anda!'
VolverSn las obscuras golondrinas
as
En tu balcon sus nidos A colgar, i
^M otia
I
y, otra vez, con el ala a sus cristales
Jugando llamar^D;
Pero aquellas que el vueio refrenaban
Tu hermosura y mi dicha £ contemplar,
Aquetlas que aprendieroD nuestros nombres .
£sas , . . jno volverin!
Volver^n las tupidas madreselvas
De tu jard!n las tapias i escalar,
V otra vez & la tarde, aun mas hermosas,
Sus flores se abrirdn;
Pero aquellas, cuajadas de rocio,
Cuyas gotas mirabamos temblar
Y caer, como lagrimas del dia . . .
£sas . . . ;no volverin!
Volverdn del amor en tus oldos
Las palabras ardientes & sonar;
Tu corazdn de su profundo suefto
Tal vez dcspertari;
Pero mudo y absorto y de rodiilas,
Como se adora d Dios ante su altar,
Como yo te he querido . . . desengSnate,
;As[ no le queridn!
134
espaRa ^^H
Cerraron sus ojos
Que aun tenia abiertos;
Taparon su cara
Con un bianco lienzo;
S
Y unos soilozando,
Otros en siliencio,
De la triste alcoba
Todos se salieron.
La luz, que en un vaso
to
Ardia en el suelo,
Al muro arrojaba
La sonibra del leclio;
Y entre aquelia sombra
Veiase a intervalos
IS
Dibujarse rigid a
La forma del cuerpo.
Despertaba el dia
Y i su albor primero
Con sus mil rtiidos
ao
Despertaba el pueblo.
Ante aquel conlrasle
De vida y mislerios,
De luz y tinieblas,
Medit6 un momento:
»S
'/Dios mio, qui solos
^
Se quedan Ins trtaertos I " 1
BfiCQUER 125
De la casa en hombros
Llevdronla al lemplo,
Y en una capilla
Dejaron el feretro.
Alii rodearon 5
Sus pdlidos restos
De amarillas velas
Y de pan OS negros.
Al dar de las animas
El toque postrero, 10
Acab6 una vieja
Sus ultimos rezos;
Cruzd la ancha nave,
Las puertas gimieron,
Y el santo recinto 15
Qued6se desierto.
De un reloj se oia
Compasado el p^ndulo,
Y de algunos cirios
El chisporroteo. 20
Tan medroso y triste,
Tan obscuro y yerto
Todo se encontraba . . .
Que pens^ un momento:
^(Dios mio, qui solos 25
Se quedan los muertosP
126 espaSa
De la alta campana
La letigua de hierro,
Le dio, volteando,
Su adi6s lastimero.
5 El luto en las ropas,
Amigos y deudos
Cruzaron en fila,
Formando el cortejo.
Del ultimo asilo,
lo Obscuro y estrecho,
Abri6 la piqueta
El nicho d un extremo.
Alii la acostaron,
Tapidronle luego,
15 Y con un saludo
Despididse el duelo.
La piqueta al hombro,
El sepulturero
Cantando entre dientes
20 Se perdi6 d lo lejos.
La noche se entraba,
Reinaba el silencio;
Perdido en las sombras,
Meditd un momento:
25 */Dios mio, qui solos
Se quedan los muertos I *
BfiCQUER . 127
En las largas noches
Del helado invierao,
Cuando las maderas
Crujir hace el viento
Y azota los vidrios 5
El f uerte aguacero,
De la pobre nina
A solas me acuerdo.
Alii cae la lluvia
Con un son etemo; 10
Alii la combate
El soplo del cierzo.
jDel humedo muro
Tendida en el hueco,
Acaso de frio 15
Se hielan sus huesosi . . .
I Vuelve el polvo al polvo ?
I Vuela el alma al cielo ?
^jTodo es vil materia,
Podredumbre y cieno ? 20
jNo s^: pero hay algo
Que explicar no puedo,
Que al par nos infunde
Repugnancia y duelo,
Al dejar tan tristes, 25
Tan solos los muertos!
^
ia8 ESPARa
DON VICENTE W. QUEROL
EN NOCHE-BUENA
A mis ancianos padres
Un ano m^ en el hogar paterno
Celebramos la fiesta del Dios-Nino,
Simbolii augusto del amor eterno,
Cuando cubre los monies e! invierno
5
Con su manto de armino.
Como en el dia de la fausta hi.da
\ .
0 en el que el satito de los padres llega,
La turba alegre de los ninos juega,
Y en la ancha sala la familia tod a
10
De noche se congrega.
La roja lumbre de los trontos brilla
Del pequeno dormido en la mejilla,
Que con timido afdn su madre besa;
Y se refleja alegre en la vajilla
JS
De la dispuesta mesa.
A su sobrino, que lo escucha atenlo,
Mi hermana dice el pavoroso cuento,
k
1
Y an otra hermana la cancidn modula
Que, 6 biea surge vibrante, 6 bien ondula
Prolongada en el vieato.
Mi madre tiende las rugosas manos
A! nieto que huye por la blanda alfombra;
Hablan de pie mi padre y mis hermanos,
Mientras yo, recatSndome eii la sombra,
I'ienso en hondos a
Pienso que de los dlas de ventura
Las horas van apresurando el paso,
V que empana el urienle niebla obscura,
Cuando aun el rayu tr^mulo fulgura
Ultimo del ocaso.
jPadres mins, mi amorl iC6mo envenena
Las breves diclias el temor del dafto!
Hoy presidfs nuestra modcsta cena,
Pero en el porvenir . . . yo s^ que un afto
VendrS sin Nocbe-Buena.
Vendrd, y las que hoy son risas y alborozo
5er£n muda afliccitfn y hondo soilozo.
No cantard mi hermana, y mi sobrina
ichari la historia peregrina
Que le da naiedo y gozo.
No dara nuestro hogar rojos desteUos
Sobre el limpio cristal de la vajilla,
Y, si alguien osa hablar, serd de aquellos
Que hoy honran nuestra fiesta tan sencilla
Con sus blancos cabellos.
X
Blancos Cabellos cuya amada hebra
Es cual corona de laurel de plata,
Mejor que esas coronas que celebra
La vil lisonja, la ignoraocia acata,
Y el infortunio quiebra.
jPadres mios, mi amor! Cuando contemplo
I^ sublime bond ad de vuestro rostro,
Mi alma i los trances de la vida templo,
Y ante esa imagen para orar me postro,
Cual me postro en el templo.
Cada arruga que surca esc sembtante
Es del trabajo la profunda huella,
0 fu^ un dolor de vuestro pecho amaote.
La historia fiel de una epoca distante
Puedo leer yo en ella.
La historia de los tiempos sin ventura
En que luchasteis con la adversa sueite.
^f Yei
^B Mil
Y en que, tras negras boras de amargura,
Mi madre se sintid mSs noble y pura
li padre mSs fuerte.
Cuando la noche toda en ia cansada
Labor tuvisteis vuestros ojos fijos,
Y, al venceroa el sueiio i la alborada,
Fuerzas os dio posar viiestra mirada
En los dormidos hij'os.
Las Idgrimas correr una tras una
Con noble orguUo por mi taz yo siento,
Pensarido que hayan sido por fortuna,
Esas honradas manos mi suslento
Y esos brazos mi cuna,
jPadres mias, mi amor! Mi alma quisiera
Pagaros hoy la que en mi edad primera
Sufristeis sin gemir lenta agonia,
Y que cada dolor de entonces fuera
Germen de una alegria.
XVII
Entonces vuestro mal curaba el gozo
De ver al hijo convertirse en mozo,
Mientras que al verme yo en vueslra presencia
Siento mi dicha ahogada en el sollozo
De una temida ausencia.
Si el vigor juvenil volver de nuevo
Pudiese d vuestra edad, i por que eslas pcnas ?
Yo OS daria mi sangre de mancebo,
Tomando as! con ella a vuestras venas
Esta vida que os debo.
Que de tal modo la aSiccion me embarga
Pensando en la posible despedida,
Que imagine ha de ser tarea amarga
Llevar la vida, como inutil carga,
Despu^s de vuestra vida.
Ese plazo fatal, sordo, inflexible,
Miro acercarse con profundo espanto,
Y en dudas grita el coraz6n sensible:
— 'Si aplacar at deslino es imposible,
^Para que araarnos tanto?"
Para estar juntos en la vida elerna
Cuando acabe esta vida transitoria:
Si Dios, que el curso universal gobiema,
Nos devuelve en cl cielo esia uniiin tiema,
Yo no aspiro k mis gloria,
xxn
Pero en tanto, buen Dios, mi mejor palma
Ser£ que prolongu^is la dulce calma
CAMP.DAMOR
Que hoy nuestro hogar en su recinio e
Para marchar yo solo por la tierra
No hay fuerzas en mi alma.
DON RAMON DE CAMPOAMOR
PROXIMIDAD DEL BIEN
En el tiempo en que e! mundo informe estaba,
Cred el Sen or, cuando por die ha extrema
El paraiso terrenal formaba,
Un fnito que del mal era el emblema
Y otro fruto que el bien simboiizaba.
Del miserable Adan al mismo lado
El Sefior coioco del bien el fruto;
Pero Addn nunca el bien halld, ofuscado,
Porque es del hombre misero atributo
Huir del bien, de! mal siempre arraslrado.
El fruto que del mal el simbolo era
Puso Dios escondido y muy lejano;
Pero Addn lo encontraba donde quiera,
Abandnnando en su falaz quimera,
Por el lejano mal, el bien cercano.
j Ah ! siempre el hombre en su ilusidn maldita
Su misma dicha en despredar se empena,
I
Y al seguiria tenaz, teoaz la evita,
Y aunque en su mismo coraz6n palpita,,
jLejos, muy lejos, con alia la suena!
iQUlfiN SUPIERA ESCRIBIRI
— Ya se para quien es.
^ ^Sabeis quien es, porque una noche obscura
Nos visteis juntos? — Pues.
— Perdonad; mas ... — No extrano ese tropiezo.
La noche ... la ocasidn . . .
Dadme pluma y papel. Gracias. Empiezo:
Mi querido Ramdn :
— ^Querido? . . . Pero, enfin, ya lo hab^is puesto . . .
— Si no quereis*. . . — ;Si, sf!
— iQue Iriste estoyi ^No es eso? — Por siipuesto.
— iQtti trisU estoy sin ti!
Una congoja, al empezar, me viene . . .
— I C6mo sabcis mi mal ?
— Para un viejo, una nifia siempre tiene
El pecho de cristal.
^Qiii es sin ti el mundo? Un voile de amargura.
I V conligo ? Un eden.
— Haced la letra clara, senor Cura;
Que io eatieada eso bien.
I
CAMPOAMllR I
— El bcso aquel que de niarchar il punlo
Te di . . ■ — ^Cdmo sabeis? . . ,
— Cuando se va y se viene y se est^ junto
Siempre . . . no os afrent^is.
Y si volver tii afecto no procura,
TatUo me har&s siifrir . .
— ^Sufrir y nada mas? No, senor Cura,
jQue me voy d morir!
— ^ Morir? |J Sabeis que es ofender al cielo? , . .
— Pues, si, senor, ; morir!
— Yo no pongo morir. — jQue hombrede hielol
iQui^n supiera escribirl
jSefior Rector, scfior Rector! en vano
Me quereis complacer,
Si no encaraan lus signos de la mano
Todo el ser de mi ser.
Escril)idle, por Dios, que el alma mta
Ya en mi no quiere estar;
Que la pena no me ahoga cada dia . . .
Porque puedo Uorar.
Que mis labios, las rosas de su aliento,
Nosesaben abrir;
Que olvidan de la risa el movimiento
A fuerza de sentir.
Que mis ojos, que ^1 tiene por tan bellos,
Cai^ados con mi afan,
Como no tiene n quien se mire en ellos,
Cerrados siempre estan.
Que cs, de cuantos tormentos he sufrido,
La ausencia el mas atroz;
Que es un peqietuo sueno de mi oido
El eco de su voz . . .
Que siendo por su causa, el alma mia
jGoza tanto en sufrirl . . .
Dios mio ;cuSntas cosas le diria
Si supiera escribir! . . .
— Pues sefior, jbravo amor! Copio y concluyo:
A dan Ram6n . . . En fin,
Que es iniitU saber para esto, arguyo,
Ni el griegoni ei lalin.
EL MAYOR CAST(GO
Cuando de Virgilio en pos
Fu^ el Dante al infierno a dar,
Su conciencia, hija de Dios,
Dej6 i. la puerta al enlrar.
Despu^s que d salir vol v id,
Su conciencia el Dante hallando,
^B N051EZ DE ARCE
■^
^H Con ella otra vez carg>3,
^H^ Mas dijo a^! suspirando:
^H Del infiemo en lo profundo,
^^M No vi tan atroz seatencia
^r Como es la de ir por el mundo
Cargado con la tonciencia.
S
DON CASPAR NUNEZ DE ARCE
I
i EXCELSIOR!
^Por qu^ los corazones miserables.
For que las almas viles,
En los fieros combates de la vida
Ni luchan ni resisten?
10 '
El espiritu humano es mas constante
Cuanto mas se levanla:
Dios puso el fango en la llanura, y puso
La roca en la montafia.
La blanca nieve que en los hondos vaMes
Derritese ligera,
Eo las altivas cumbres permanece
^H Inmutable y eterna.
»S
^H TKISTEZAS
^K Cuando recuerdo la piedad sincera
^M Con que en mi edad primera
^B Entraba en nuestras viejas catedrales,
J
w .
1
^K 138 ESPAKA
^H Donde postrado ante la cruz de hinojos
^H Alzaba & Dios mis ojos,
^^ Sonando en ias venturas celestiales;
Hoy que mi frente atdnito golpeo,
5 \ con febril deseo
Busco los restos de mi fe perdida,
Por hallarla otra vez, radiatite y bella
Como en la edad aquella,
jDesgraciado de ml! diera la vida.
,0 [Con que profundo amor, niflo inocente,
Prosternaba mi frente
En las losas del templo sacrosantol
Llendbase mi joven fantasia
De luz, de poesia,
,5 De mudo asombro, de terrible espanto.
Aquellas altas bdvedas que al delo
Levantaban mi anhelo;
Aquella majestad solemne y grave;
A quel pausado canto, parecido
ao A un doliente gemido,
Que retumbaba en la espaciosa nave;
Las marmdreas y austeras esculturas
De antiguas sepulturas,
Aspiracion del arte i lo indnito;
^m ni*5;ez de arce
,~1
^1 La luz que por los vidrios de colores
■
^M Sus tibios resplandores
^M Quebraba en los pilares de gramto;
ll
^B Haces de donde en cun'a fugidva.
^1 Para formar la ojiva,
5
^1 Cada ramal subiendo se separa,
^f Cual del rumor de mullitud que mega,
Cuando A los cieios llega,
Surge cada oracion dislinla y clara;
En el g<5tico altar inmoble y fijo
JO
El santo crucifijo.
Que extiende sin vigor sus brazos yertos,
^L Siempre en la sorda lucha de la vida,
i
^H Tan Sspera y refiida,
i
^B Para e! dolor y la humildad abiertos;
>s
El mistico clamor de la campana
^m Que sobre el alma humana
^B De las caladas torres se despena,
^M Y anuncia y lleva en sus aladas nutas
^1 Mi] promesas ignotas
ao
^1 Al ttiste corazdn que sufre 6 suefia;
Todo elevaba mi Snimo inlranquilo
A m5s sereno asib:
Religion, arte, soledaH, misterio . . .
^
Todo en el templo secular hacfa
Vibrar el alma mia,
Como vihran las cuerdas de un salterio.
Y d esta voz interior que s6\o entiende
Quien credulo se enciende
En fervoroso y celestial carifio,
Envuelta en sus llotantes vestidiiras
Vtilaba i las ajturas,
Virgen sin mancha, ml oracii5n de niiio.
Su rauda, viva y luminosa huella
Como fugaz centella
Traspasaba el espacio, y ante el puro
Resplandor de sus alas de querube,
Rasgibase la nube
Que me ocultaba el inmorla! seguro.
(Oh anhelo de esta vida Iransitoria!
|Oh perdurable gloria!
jOh sed inextinguible del deseol
jOh cielo, que antes para m! lenlaa
Fulgores y armonfas,
Y hoy tan ubscuro y desolado veo!
Ya no lemplas mis intinios pesares,
Va al pie de tus altares
Como en mis anos de candor no acudo.
NdSEZ DE ARCE
Para Uegar i. ti perdf el camino,
Y errante peregrino
Entre tinieblas desespero y dudo.
Voy espantado sin saber por ddnde;
Grito, y nadie responde
A mi angustiada voz; alzo los ojos
Y ii penetrar ia lobreguez no alcanzo;
medrosamente avanzo,
Y me hieren el alma los abrojos.
Hijo del siglo, en vano me resisto
A su impiedad, joh Cristo!
Siglo de maravillas y de asombros,
Levanla sobre escombros
Un Dios sin esperanza, un Dios que gime.
]Y ese Dios no eres tii! No tu Serena
Faz, de con sue los Uena,
Al umbra y guia nuestro infierto paso.
Es otro Dios incognito y sombrio:
Su tielo es e! vacio,
Sacerdote el error, ley el Acaso.
jAy! No recuerda el animo suspenso
Un siglo mas inmenso,
Mis rebelde d tu voz, mds atrevido;
1
1
143
S
espaNa
Enire nubes de fuego alza su frente,
Como Luzbel, potente;
Pero tambi^n, como Luzbel, cmdo.
A medida que marcha y que investiga
Es mayor su fatiga,
Es su noche mis honda y mds obscura,
V pasma, al ver lo que padece y sabe,
Ciimo en su semi labe
Tanta grandeza y tanta desventura.
Como la nave sin timon y rota
Que el ronco mar azota.
Incendia el rayo y la borrasca mece
En pi^lago ignorado y proceloso.
Nuestro siglo — coloso,
'S
Con la luz que le abrasa, resplandece.
jY esta la playa mistica tan lejns! , . .
A los iristes reilejos
Del sol poniente se colora y brilla.
El huracan arrecia, el bajel arde,
f
Y es tarda, ea [ay! muy tarde
Para alcanzar la sosegada orilla.
^ Que es la ciencia sin fe ? Corcel sin freno,
A todo yugo ajeno,
Que al impulso del vertigo se enlrega,
J
niJSez de arce
Y a trav^s de intrincadas espesuras,
Desbocado y & obscuras,
Avanza sin cesar y nunta Ikga.
jLlegarl c'^dt'ide? . . . IlI fiensamiento hut
Kn vani) lucha, en vano
Su ley oculla y misleriosa infringe.
£n la lumbre del sul sus alas quema,
V no atlara el problema,
No penetra ei enigma de la Esfinge.
jSdlvanos, Crisfo, sdlvanos, si es cierto
Que tiL poder no ha muerto!
Salva a esla sudedad desventurada,
Que baj'o el peso de su orgullo mismo
Rueda al profundo abismo
Acaao mas enferma que culpada.
La ciencia audaz, cuando de li se aleja,
En nuestras almas deja
EI germen de retondilos dolores.
Como al tender el vuelo hacia la altura,
Deja su larva impura
El insecto en el caliz de las (lores.
Si en esta confusion honda y sombria
Es, Senor, todavia
Raudal de vida tu palabra santa,
J44 ESPASA '
Di a nuestra fe desalentada y yerta:
— ;Aiiimate y despierta! ;
Comw dijiste a Ldzaro; — \ Levanta! —
iSURSUM CORDAI
INTRODUCCION
A tni buen amigo el lluEtie poela Manuel Reina
I. A F-SPANA
Nunca mi labio i la servil lisonja
5
Farias rindi6. Ni el ^xito ruidoso.
Ni la soberbia afortunada, oyeron
Falaz encomio de mi humilde Musa.
Didme svi austeridad la honrada lierra
Donde naci, y el presuroso tiempo
JO
Que arrastra y lleva en sus revueltas olas
Las grandezas humanas al olvido.
A mi pesar me ensena que en el mundii
Tan s6\o a dos excelsas majeslades
Puedo, sin mengua, levantar mi canto;
'S
La Verdad y el Dolor.
En estas horas
De febril inquietud, ^qui^n, Patria mfa,
1
Merece como tu la pobre ofrenda
De mi respeto y de mi amor? Postrada
En los escombrtis de tu antigua gloria,
30
La negra adversidad, cnn fcrrea mano,
b
Comprime los latidos de tu pecho 1
m
niJSez de arce
Y cl aire que respiras envenena.
Como tigre feroz ciavd sus garraa
La catdstrofe en ti, y en tus heridaa
Elntrahas sacia su voraz inscinto.
^Quisn, al mirar tus lastimas, no llora?
I Puede haber hombre tan perverso y duro,
Ni aun concebido en crapulosa orgia
Por hembra impura, que impasibk vea
Morir sin fe, desesperado y solo,
Al duke bien que le llev6 en su seno ?
jNo existe, no!
Perdona si movido
Por la ciega pasion, alia en lejanos
Y borraacosos dias, cuando airada
Mi voz como fatidico anatema
Troni5 en la tempestad, quizes injusto
Contigo pude ser. Pero hoy, que sufres.
Hoy que, Job de la Historia, te retuerces
En tu lecho de angustia, arrepentido
Y llena el alma de mortal congoja,
Acudo ansioso i consolar tus pen as,
A combatir con los inmundos buitres,
Avidos del festJn, que en tomo giran
De tu ulcerado cuerpo, y si lo mandas,
jOh, noble martirl a morir contigo.
Pero ^quien habla de morir? ^Acaso
No eres, Patria, inmortal? Tendras eclipses
Como los tiene el sol. Sombras tenaces,
Cual hiperbdrea noche larga y fria.
espaSa
Sobrc ti pesardn, mieotras no llegue
Tu santa redencion. jHora dichosa
En que veris con jubilo y temura
Nacer ei alba, el tenebroso espacio
Inundarse de luz, la tierra encicta
Estremecerse en extasis matemo,
De armonias, aromas y colores
Poblarse el aire, y pa! pi tar en todo
La plenitud eterna de la vidal
(Ten esperanza y fe! Descubridora
De mundos, madre de indomada prole,
T(j no puedes morir, [Dios no lo quiere!
Aun tienes que cumplir altos destines.
Busca en el seno de la paz bendita
Reparador descanso, hasta que cobren
Tus musculos salud, y en cuanto sientas
El hervor de tu sangre renovada,
Ponte en pie, sacudiendo tu marasmo,
Que como losa del sepulcro, oprime
Tu enferma voluntad. Surge del fondo
De tu aislamiento secular, y marc ha
Con paso firme y coraaSn resueito
Sin mirar hacia atrSs, siempre adelante.
Sean la escuela y el taller y el surco
Los solos campos de batalla en doode
Tu ra2<5n y tus fuerzas ejercites.
Enlra en las lides del trabajo y vence.
Que entonces de laureles coronada,
Mds fecunda, m^s pr6spera y m^ grande,
d
nUSez de arce 147 ^^^
Seguiras, fulgurando, tu camino ^^H
Pnr los arcos trlunfales de la Historia. ^^^B
11. A AMKRJCA
;£sta es Espana! Atonita y maltrecha
Bajo el peso brutal de su infartunin,
Inerte yace la matrona augusia 5
Que en otros siglos fatigd a la fama.
La que surc(5 Uis mares procelosns
Buscdndote atrevida en el misterii),
Hasta que un dia, desiumbrando al mundo,
Surgiste, como Venus, de las ondas. ,0
Cegada por tu espi^ndida hermosura,
Al engarzarle en su imperial diadema
Espana te oprimio; mas no la culpes,
Porque ^cudndo la bfirbara conqdsta
Justa y huraana fui* ? Tambien clemente 15
Te dio su sangre, su robusto idioma,
Sus leyes y su Dios. jTe lo did todo,
Menos la libertad ! Pues raal pudiera
Darte el linico bien que no tenia.
Cont^mplala vencida y humillada k.
Por la dobiez y el oro, y si te mueven
A genenisa lastima sus males,
El trdgico desplome de una gloria
Que es tambien tuya, ac6rrela en su duelo.
jEs tu madre infeliz! No la abandone »$
Tu amor, en tan inmensa desventura.
DON MANUEL DEL PALACIO
AMOR OCULTO
Ya de mi amor la confesidn sincera
Oyeron tus calladas celoslas,
Y fue testigo de las ansias mias
La !una, de los tristes companera.
Tu nombre dice e! ave placeotera
A quien visito yo todos los dias,
V alegran mis sofiadas alegrias
Ei valle, el monte, la comarca entera.
S6]o td mi sec re to no conoces,
Por mis que el alma con latido ardiente,
Sin yo quererlo, te lo diga a voces;
Y acaso has de ignorarlo eternamente,
Como las ondas de la mar veloces
La ofrenda ignoran que les da la fuente.
DON JOAQUIN MARIA BARTRINA
ARABESCOS V COMPOSICIONES INTIMAS
Oyendo hablar a un hombre, facil es
Acertar donde vid la luz del sol-
Si OS alaba d Inglaterra, sera Ingles,
Si OS habia mal de Prusia, es im frances,
Y si habla mal de Espana, es espanol.
i
REINA 149
Si cumplir con lealtad
Nuestra didma voluntad
£s sagrada obligacidn,
Cuando mis ojos se cierren,
He de mandar que me entierren
Dentro de tu corazon.
Para matar la inocencia,
Para envenenar la dicha,
£s un gran punal la pluma
Y un gran veneno la tinta. 10
Quien vive siempre entre p>ena
Y remordimiento y dudas,
No sabe ver mds que d Judas
En el cuadro de la cena.
DON MANUEL REINA
LA POESIA
A Teodoro Llorente
Como el raudal que corre en la pradera 15
Copia en su espejo pajaros y flores,
La alada mariposa de colores,
El verde arbusto y la radiante esfera,
La sublime poesia reverbera
Combates, glorias, risas y dolores, ao
Odio y amor, tinieblas y esplendores,
ISO
espaRa
El cielo, el campo, el mar . . . ;la vida enteral
jAsi Homero es la lid; Virgilio, el dia;
Esquilo, la tormenta bramadora;
Anacreonte, el vino y la alegria;
Dante, la noche con su negro arcano;
Calderon, el honor; Milton, la aurora;
Shakespeare, el triste corazon humano!
ARGENTINA
DON ESTEBAN ECHEVERRiA
CANCION DE ELVIRA
Creci6 acaso arbusto tiemo
A orillas de im manso no,
Y su ramaje sombrio
Muy ufano se extendid;
Mas en el sanudo invierno 5
Subi6 el no cual ton^nte,
Y en su tumida comente
El tierao arbusto llevd.
Reflejando nieve y grana,
Naci6 garrida y pomposa lo
En el desierto una rosa,
Gala del prado y amor;
Mas lanz6 con furia insana
Su soplo inflamado el viento,
Y se llevd en un momento 15
Su vana pompa y frescor.
Asl dura todo bien . . .
Asi los dulces amores,
151
153 ARGENTINA ^^^|
Como \as lozanas flores, "
Se marchitan en su albor;
Y en e[ incierto vaivtiti
De la fortuaa incOBstaote,
5
Nace y muere en un instante
La esperanza del amor.
DON OLEGARIO V. ANDRADE I
atlAntida 1
Canlo al porvfnit ile la raza latina en America
vn 1
[Siglos pasaron sobre el mundu, y siglos
Guardaron e] secreto!
-
Lo presintid PlaWn cuando setitado
lO
En las rocas de Engina conlemplaba
Las sombras que en silencio destendlan
A posarse en las cumbres del Himeto;
V el misterioso dialogo entablaba
Con las olas inquietas
'S
iQue a sus pies se arrastraban y gemian!
Adivino su nombre, hija pnstrera
Del tiempo, destinada
A celebrar las bodas del fuluro
En sus campos de eterna primavera,
■
i V la Uanio la Atldntida suiiada!
\ i
^ Til. I
ANDRADE
Pero Dios reservaba
empresa ruda al genio renaciente
De ia lalina raza., jdomadora
De pueblos, combatiente
De las grandes batallas de la historial
Y cuaado fu^ la hora,
Colun aparecid sobre la nave
Del destiao del mundo portadora —
Y la nave avanzo. Y el Oc&nu,
Huraflo y turbulento,
Lanzd al encuenlro del bujel latino
Los negros a qui I ones,
i Y a su (rente rugiendo el torbellini),
jinete en el relSmpago sangrientii!
Pem la nave fu^, y el hondo arcanu
Cayo roto en pedazos;
;Y desperto la Adindda sofiada
De un pobre visionario entre los brazos!
Era lo que buscaba
El genio in<iuieto de la vieja raza,
Delwlador de tronos y coronas,
I Era lo que sonaba!
jAmbito y luz en apartadas zonas!
Helo armadt) otra vez, no ya arrastrando
El sangriento sudario del pasado
Ni de negros reruerdns bajo el peso.
Sino en |ios de grandtosas ilusiones,
jLa libertad, la gloria y el progresol
1
ARGENTINA
jNada le falta ya! lleva en e.
El insondable af^n del iniinito,
[Y el infinito por doquier lo llama
De las raontaftas con el hondo grito
V de Ins mares con la voz de trueno!
. Tiene el altar que Roma
Quiso en vano construir con los escom
Del tempio egipcio y la pagodp Indian;
jAltar en que profese etemamente
Un culto solo la conciencia humana!
jY el Andes, con sus gradas ciclopeas.
Con sus rojas an tore has de vol canes,
Seri el altar de fulgurantes velos
En que el himno inmortal de las ideas
La tierra entera elevara a los cielos!
jCampo inmenso a su afdn! Alia dormidas
Baju el arco triunfal de mil colores
Del trdpico esplendente.
Las Antillas levantan la cabeza
De la naciente luz d los albores,
Co mo band ad as de aves fugitivas
Que arruilaron al mar con sus extranas
Canciones plaftideras,
V que secan ai sol las blancas alas
j Para emprender el vuelo (t otras riberas!
\AM Mgjico estS! sobre dos mares
Alzada cual granitica atalaya,
^m
^
^^^^^^ ANDRADE 155
^r jPaxece que aun espia
^M La castellana flola que se acerca
H Del golfo azteca & la arenosa playa!
H V mis alia Colombia adormecida
^P Del Tequendama al retemblar profundo, 5
i Colombia la opulenta
Que parece llevar en las entraiias
La inagotable juventud del mundo!
(
jSalve, zona feliz! region querida
De! almo sol que tus encantos cela, 10
Inmenso hogar de animacion y vida,
j
jCuna del gran Bolivar! jVenezuela!
Todo en tu suelo es grande,
1.0s astros que te alumbran desde arriba
Con eterno, sangriento centelleo, 15
(
El genio, el heroismo,
^m jVolcan que hizo erupci6n con ronco estruendo
^B En la cumbre inmortal de San Mateo!
i;
^m Tendida al pie del Ande,
^M Viuda infeliz sobre entreabierta huesa, 30
^M Yace la Roma de los Incas, rota
H La vieja espada en la tontienda grande,
1
^^ La Irente hundida en la tiniebla obscura,
j
^B jMas no ha muerto el Peni! que la derrota
1
^M Germen es en los pueblos varoniles 1^
H De redencidn futura —
^K V entonces cuandu Uegue,
d
ARGENTINA
Para su suefo, la estacidn propicia
Del trabajo que cura y regenera,
Y brille al fin el sol de la justicia
Tras largos dias de vergiienza y Uoro,
jEl rojo maato que & su espalda flota
Las mieses bordarSn con llores de oro!
jBolivia! la heredera del gigante
Nacido al pie del AviJa, su genio
Inquieto y su valor constaote
Tiene para las luchas de la vida;
Suena en batallas hoy, pero no importa,
Suena tambi^n en anchos horizontes
En que en vez de curenas y canones
jSienta'rodar la audaz locomotora
Cortando valles y escalando monies!
Y Chile el vencedor, fuerte en la guerra,
Pero mds fuerte en el trabajo, vuelve
A colgar en el techo
Las vengadoras armas, conx'encido
De que es cst^rij siempre la victoria
De la fuerza brutal sobre el derecho.
El Uruguay que combatiendo enCrega
Su seno a las caricias del progreso,
El Brasil que recibe
Del mar Atlanta el estruendoso beso
Y i quien solo le falta
El ser mas libre, para ser mas grande,
jY la re"gi6n bendita, J
Sublime desposada de la gloria,
Que baiia el Plata y que limita el Ande!
;De pie para cantarla! que cs la patria,
La patria bendetida,
Siempre en po3 de sublimes ideales,
;KI jjueblo joven que arrutio en la cuna
El mmor de K» himnos inmortales!
Y que hoy liama al festin de su opiilenuia
A cuantos rinden cullo
A b sagrada libertad, hermana
Del arte, del progreso y de la ciencia — -
jLa patrial que ensancho sus horizontes
Rompiendo las barreras
Que en otrora su espiritu aterraron,
|V d cuvo paso en los nevados montes
Del Genesis Its ecos desperlaron!
jLa patria! que, olvidada
De la civil querella, arrojd lejos
El fratricida acero
Y que Ueva orgullosa
La corona de espigas en la frente,
[Menos pesada que el laurel guerrero;
■[La patrial en elk cabe
Cuanto de grande el pensamiento alcanza,
En ella el sol de redencidn se enciende,
Ella al encuentro del future avanza,
Y su mano, del Plata desbonlante
] La inmensa copa & las naciones tiende!
1S& ARGENTINA
]Ambito inmenso, ablerto
De la latiiia raza al hundu aohelo!
jEl mar, el mar gigante, la montana
En etemo coloquio con el cielo . . .
5 Ymas alld desierto!
AcS. rios que corren desbordados,
AUI valles que ondean
Como rios eternos de verdura,
Los bosques a los bosques enlazados,
lo jDoquier la libertad, doquier la vida
Palpilando en el aire, en la pradera
V en explosion magoifica enirendida!
iAtldntida encantada
Que Plaldn presintii3! promesa de oro |
15 Del porvenir huniano — Reservado
A la raza fecunda,
Cuyo seno engendrd para la historia
Los Cesares del genio y de la espada — ,
Aqui va A realizar lo que no pudo
30 Del mundo antiguo en los escombros yertos —
jLa mds bella vision de sus visiones!
jAi himno colosal de los desiertos
La etema comunion de las naciones! k
P A
ANDRADE
PROMETEO
;Arriba, pensadores! que en U lucha
Se templa y fortalece
Vuestra raza inmortal, ouoca domada,
Que llcTa por celeste distintivo
Ia chispa de la audacia en la niiiada
Y anhelos tnfinitus en el alma;
;En cuya frenle altiva
Se confunden y enlazan
£1 laurel rumiiriMjo de la gloria
Y del dolor la mustia loem pre -viva!
i Arriba, pensadoresi
]Que el espiritu hiimano sale ileso
Del cadalso y h hogueral
Vuestro heraldo triunfal es el progreso
Y la verdad la suspirada mela
De vuestro afan giganle.
lArriba! ]que ya asoma el claro dia
En que el error y el fanarismo expiren
Con doliente y confuso clamoreo!
jAve de esa alborada es el poela,
Hermano de las dguilas del Ciucaso,
Que secaron piadosas con sus alas
La ensangrentada faz de Prometeo!
^1
i6o
5
15
ARGENTINA
DON RAFAEL OBLIGADO
EN LA RIBERA
Ven, sigue de la mano
Al que te amo de nifio;
Ven, y juntos lleguemos hasta el bosque
Que esti en la margen del palemo rio.
lOh, cudnto eres hermosa.
Mi amada, en este sitiu'
S6I0 por ti, y fi reflejar tu trente,
Corriendo baja el Paranl tranquilo.
Para besar tu huella
Fu^ siempre tan sumiso,
Que, en viendote llegar, hasta la playa
Manda sus olas sin hacer riiido.
Por eso, porque te ama,
Somos grandes amigos;
Luego, sabe decirte aquellas cosas
Que nunca brotan de los labios mlos.
E! ano que tii falCas,
La flor de sus seibos,
Ccimo cansada de esperar tus sienes,
w
Cuelga sus ramos de carmin marchitos.
d
OBUGADO i6i
Pdr la teisa conioite,
Risuenos y f urtivos,
Como sudtas guimaklas, no navegan
Los veides camak>tes florecidos.
Sdk) incliiian los sauces ^
Su ramaje sombrio,
Y las aves mas tristes, en sus copas
Gimiendo tejen sus ocultos nidos.
Pero llegas . . ., y el agua,
El bosque, el cielo mismo, lo
£s como una explosidn de mil colores,
Y el aire rompe en sonorosos himnos.
Asf la primavera,
Del tnSpico vecino
Desciende, y canta, repartiendo flores, 15
Y colgando en las vides los racimos.
jCudl suenan gratamente,
Acordes, en un ritmo,
Del agua el melancdlico murmullo
Y el leve susurrar de tu vestido! a©
i Oh, si mc f uera dado
Guardar en mis oidos,
Para siempre, esta musica del alma,
Esta uni6n de tu ser y de mis rlos'
COLOMBIA
DON JOSe JOAQUIN ORTIZ
COLOMBIA Y ESPAJJA
jOh! jreposad en vuestras quietas tumbas, 1
Augustos padres de la patria mia,
Pues bien lo merec^is! La grande obra
De redencidn al fin eatd cumplida;
s
V no llegue d turbar vuestro reposo
El tumulto de lucha fratricida.
Hoy i. vuestros sepulcros hace sombra
La bandera de! iris, enkzada
A la de los castillos y leones;
lo
Que el odio no es etemo
En los pobres humanos corazones;
Y Uego el dia en que la madre Espana
Estrechase d Colombia entre sus brazos.
Depuesta ya la safta;
15
Libres las dos como las hizo el cielo.
',Ab! ^ni ciSmo podrla
161
J
S«
J
Hallarse la hija siempre separada
Del dulce hc^ar patemo,
Ni consentir la carifiosa madrc
Que tal apartamiento fuera elerno?
En esos afios de la auseni
El recuerdo de Espaiia
Seguianos doquiera.
Todo nos es comun: su Dio
La sangre que circula por s
V el hermoso lenguaje;
Sus artes, nuestras artes; la
De sus cantos, la nuestra; sus i
Nuestros tambi^n, y nueslras
Las glorias de Bail^n y de Pav
fiera.
■'3
Si a veces dislraldos
FijSbamos los ojos
A contemplar las hijas de Colombia;
En el porte elegante,
En el puro perfil de su semblante.
En su mirada ardiente y en el dejo
Meloso de la voz, eran relrato
De sus nobles abuelas;
Copia feliz de gracia soberana.
En que agradablemente se vela
El dccoro y nubleza castellana
Y el donaire y la sal de Andalucia;
Y entonces exclamdbamos: Un nombre
COLOMBIA
Terrible, Espana, tienes; jpero suena
Qu^ dulcemente al corazon del hombre!
;0h! ;que esta santa alianza eterna sea,
Y el penddn de Castilla y de Colombia
Unidos siempre el universo vea!
V que al jviva Colombia! que repiten
El aureo Taj'o, y Ebro y Manzanares,
jResponda el eco que rodando vaya
Por los tranquilos mares
A la iberica playa
De jviva Espana! con quu el Andc atruena
El Cauca, el Orinoco, el Magdalena!
DON JOS£ EUSEBIO CARO
EL CIPRfiS
jArbol sagrado, que la obscura frente,
Inmdvil, majestuoso,
Sobre el seputcro humilde y silencioso
Despliegas hacia el cielo tristemente!
TU, si, tu solamente
Al tiempo en que se duerme el rev del muado
Tras las altas monlaiias de occidente,
Me ves triste vagando
Enlre las negras lumbas,
Con los ojos en llanln humedecidos,
Mi orfaodad y miseria lamentando.
J
JOSfi El'SEBIO CARO
Y cuando ya de la apacible lima
La luz de i>erla en tu verdor sc acoge.
Solo tu troncu escucha mis gemidos,
S<5lo tu pie mis Idgrimas recoge.
jAy! hubo un tiempo en que feliz y ufiino
Al seno paternal me abandonaba;
En que con blandu manu
Una mad re amorosa
De mi ninez las l^grimas secaba . . .
;V hoy, huerfano. del mundo desechado,
Aqui en mi palria mis ma
Soiitario viajero,
Desde lejos contemplo acongojado
Sobre los techos de mi hogar priniero
El humo blanquear del exUanjcm!
Entre el buUido de los pueblos buscn
Mis tiemos padres para mi perdidiw;
jVanamente! . . . Los rostros de los hombres
Me son desconocidos.
Y sus manes, emfiero, noche y dla
Presenles a mis ojos afligidos
Condno esldn; contino sus acentos
Vienen &, resonar en mis ofdos.
jSl, funeral cipr^s! Cuando la noche
Con su callada sombra te rodea,
Cuando escondido el soiitario bubo
En tus obacuros ramos aletea;
COLOMBIA
La sombra de mi padre por tus hojas
Vagando me parece,
Que a velar por los dias de su hijo
Del reino de los muertos se aparece.
Y si el vienlo sacude impetiioso
Tu elevada cabeza,
Y d su furor con susurrar medroso
Respondes pavoroso;
En los iristes silbidos
Que en torno de ti giran,
A los paternos manes
Escucho, que dulcfsimos suspiran.
jArbol augusto de la muerte! jNunca
Tus verdores abata el boreas ronco!
jNunca enemiga, venenosa sierpe
Se enrosque en lomo de tu pardo tronco!
iJamSs el rayo ardiente
Abrase tu alta frente!
jSiempre inmoble y sereno
Por las concavas nubes
Oigas rodar el impotente trueno!
Vive, si, vive; y cuando ya mis ojos
Cerrar el dedo de la muerte quiera;
Cuando esconderse mire en occidente
Al sol por vez postrera,
Morir^ sosegado
A tu tronco abrazado.
Tli mi sepulcro ampararis piadoso
J
UARROQtrtN
De las roDcas tonneotxs;
Y mi ceniza eatoocc agiadcdda.
En restaurantes jugos cxnvntida.
Por tu3 delgada^ vmas penetnuido.
Te hara reverdecef, te dara vida.
Quizd sabiendo el infeliz dcsdno
Que oprimio mi existencia desdichada,
Sobre mi pobre lumba atiandooada
Una lagrima vieita el peregrino.
DON JOSe MANUEL MARROQUiN
LOS CAZADORES V L.\ PERRILL.'V
Es flaca sobremanera
Toda humaoa prevision,
Pues en mas de una ocasitin
Sale lo que no se espera.
Salio al campo un:
Un expertu cazador,
El mis hdbil y el mejor
Alumno que tuvo Diana.
Segulale gran cuadrilla
De ejercitadus monleros,
De ojeadores, bailesteros
V de mozos de trallla;
1
i68
5
COLOMBIA
Van todos apercibidos
De las armas necesarias,
Y llevan de castas varias
Perros diestroa y atrevidos,
Caballos de noble raza,
Cornelas de moiite: en fin,
CuanU) exige Moralm
En au poeraa /-a Casa.
Levantan pronto una pieza,
Un jabali corpuiento,
Que huye veloz, rabo a viento,
Y rompiendo la maleza.
Todos siguen con gran bulla
Tras la cerdosa alimana.
»S
Pero ella se da tat mafia
Que & todos los aturrulla;
Y aunque gastan todo el d!a
En paradas, idas. vueltas,
Ycarrerasyrevueltas,
ao
Es vana tanta poriia,
Ahora que los leccorea
Han visto de qu^ manera
Pudo burlarse la fiera
De los tales cazadores.
i
^^^^F MARROQUfN
I&, ^M
Oigan lo que acontediS,
Y aunque es suceso que adtnira,
No piensen, no, que es mentira.
Que lo cuenta quien lo vi6:
i
Al pie de uno de los cerros
, Que batieron aquel dia,
Una viejilla vivia.
Que oyo ladrar & los perros;
s
Y con gana de saber
En qu^paraL- la fiesta,
Iba subiendo k ruesta
A eso del anoche t:
.0
Con ella iba una perrilla . . .
Mas sin pasar adelante,
Es preciso que un instante
Gastemos en describilla:
IS
Perra de canes decana
Y entre perras protoperra.
Era lenida en su tierra
Por perra antediluviana;
Flaco era el animalejo,
El mas flaco de los canes.
Era el rastro, eran [os manes
De un cuasi-semi-ex-gozquejoj
^
r
COLOMBIA
i
. . . digo mal;
No era una perra sarnosa,
Era una sarna perrosa
Y en.figura de animal;
Era, otrosi, derrengada;
La derribaba un resuelb;
Puede decirse que aquello
No era perra ni era nada.
A ver, pues, la batahola
La vieja at cerro subia,
De la i^erra en compaftia,
Que era lo mismo que ir sola.
Por donde iba, hizo la suerte
Que se hubiese el jabali
Escondido, por si asi
Se libraba de la muerte;
Empcro, sintiendo iuego
Que por ahi andaba genie,
Tuvo piir cosa prudente
Tomar las de Villadiego;
La vieja entonces al ver
Que escapaba por la loma,
jSus! dijo por pura broma,
y la perra echiS d currer.
MIGUEL ANTONIO CARO 171
Y aquella perra extenuada,
Sombra de perra que fu^,
De la cual se dijo que
No era perra ni era nada; *
Aquella perrilla, si,
jCosa es de volverse loco!
No pudo coger tampoco
Al maldito jabali.
DON MIGUEL ANTONIO CARO
LA VUELTA A LA PATRIA
Mirad al peregrino
jCudn doliente y trocado! 10
Apoy^ndose lento en su cayado
iQu^ solitario va por su camino!
En su primer manana,
Alma alegre y cantora
Abandond el hogar, como i la aurora 15
Deja su nido la avecilla ufana.
Aire y luz, vida y flores,
Bused en la vasta y fria
Regidn que la inocente fantasia
Adomaba con mdgicos f ulgores. 20
b
COLOMBIA
Ve el mundo, oye el ruido
De las grandes ciudades,
Y solo vanidad de vanidades
Halla doquier su espiritu afligido
Materia da & su llanto
Ciianto el liombre le ofrece;
Yd la risa en sus labios no florece,
Y olvidd la nativa voz del canto.
HIzose pensativo ;
Las nubes y las olas
Sus confidentes son, y trata i solas
El sitio mas repuesto y mas esquivo,
A su penar responde
En la nuche ca.llada.
La estrella que declina fatigada
Y en el matemo piflago se esconde.
jVudve, vutlve d lu cenlrol
Natura al infelice
Clama; ivuelvel una voz tambien le dice
■Que habla siempre con &, amiga. adentro.
jAy triste! En lontananza
Ve los pasados dJas,
Y en gozar otra vez sus alegrlas
Concentra reanimado la esperanza.
MIGUEL ANTONIO CARO 173
jlmposible! jLocura! . . .
<j Cu^ndo pudo i su f uente
Retroceder el misero torrente
Que probd de los mares la amargura ?
Ya sube la colina 5
Con mal seguro paso;
Del sol poniente al resplandor escaso
El valle de la infancia se domina.
J Ay! Ese valle umbrio
Que la paterna casa 10
Guarece; ese rumor con que acompasa
Sus blandos tumbos el sagrado rio;
Esa aura embalsamada
Que sus sienes orea,
<j A un corazdn enfermo que desea 55
Su antigua soledad, no dicen nada?
El pobre peregrino
Ni oye, ni ve, ni siente;
De la Patria la imagen en su mente
No existe ya, sino ideal divino. 20
Invisible le toca
Y sus p^rpados cierra
Angel piadoso, y la ilusidn destlerra,
Y el dulce sonreir vuelve d su boca.
I
COLOMBIA
jQu^ muda despedida!
^Qui^n muerto )e creyera?
[Mirando esia Ja Patria verdadera!
jEsli durmiendo el sueno de la vida!
DON diOgenes a. arrieta
EN LA TUMBA DE Ml HIJO
i Espejismos del alma dulorida! . . .
jHermosas esperanzas de la vida
Que disipa la muerte con crueldad!
Para enganar las penas nos forjamos
Imagenes de dicha, y luego damos
A la Ilusion el nombre de Verdad.
AquI te Uamo y nadie me responde:
Sorda y cruel, la tierra que te esconde
Ni el eco de mi voz devolvera.
A^ la Eteroidad: sombria y muda,
El odio ni el amor, la fe y la duda
En sus abismos nada alcanzardn.
Otros alien ten la creencia vana
De que es posibie li la esperanza humana
De la muerte sacar vida y amor.
Si es cruel !a verdad, yo la prefiero . . ,
iMe duele el corazon, perci no quiero
Consolar con mentiras mi dolorl
GVTltRREZ PONCF,
jHijn querido, la esperanza mia!
Animaste mi hogar tan s<5lo un dia,
No volvemos a veraos ya los das . . .
Pues que la ley se cumpla del desdno:
Tomo mi cruz y sign mi camino . . .
;Luz dc mi iiogar y mi espcranza, adios!
DON IGNACIO GUTIERREZ PONCE
DOLORA
El ingel de mi cielo, mi Maria,
Que d la primera vuelta de las flores
Tres anos cumplira, medrosa un dIa
BusciS refugio en mis abiertos brazos,
Y cuando entre caricias y entre abrazos,
Que prodigu^, con paternal empeiio,
Hubo al fin disipado sus temores,
Trocando asi en sonrisas sus clamores,
Gend los ojos en tranquilo sueiio.
En silencio quedo la estancia mia;
Y sintidndome ansioso
De no turbar el infantil reposo
De mi bien, en mi pecho reclinado,
Inmoviles mis miembros mantenia,
Y mi amoroso corazon latfa
Al ritmo de su aliento sosegado.
»y6
COLOMBIA ^^^^^1
Sobre su faz serena, ^|
Regadas como limpido rocio ^|
En el caliz de palida azucena, ^|
Brilkban gotas del reciente lloro, ^M
Y las guedejas dc oro ^H
Del undoso cabello ■
Caian arropando su albo cuelln. ^H
Asl nos sorprendid mi lierna esposa.
Que i la par temerosa
De interrumpir mi sueiio de ventura,
Con paso leve recorrifi el estrado
Y sin sentirla yo, vino a mi lado.
Aqueila dulce calma
Que reinaba entre mi y en tomo mio,
LlenoDie al fin de arrobamiento el alma^
Y se quedo mi mente
Enajenada en ^xtasis creciente.
Absorto siempre en eUa,
Con fntimo lenguaje la decia:
•Eres bot6n de flor embalsamado
Con aromas del cielo todavia. '
Y al veria asl, tan bella,
1
Con pUcido embeleso ^m
i
A su rosada frente ■
Fuime inclinando para darla un beso; ^M
GARAVITO A. 177
Pero escuch^, de subito, d mi lado,
Algo como un sollozo;
Y mirando con ojos sorprendidos,
Hall^ los de mi esposa humedecidos
Por inef able gozo . . .
*No la despiertes,* dijome sencilla,
Y me acercd su Candida mejilla.
DON JOSfi MARIA GARAVITO A.
VOLVERfi MANANA
— jAdids! jadids! Lucero de mis noches,
— Dijo un soldado al pie de una ventana, —
jMe voy! . . . pero no Uores, alma mia, 10
Que volverd manana.
Ya se asoma la estrella de la aurora,
Ya se divisa en el oriente el alba,
Y en mi cuartel tambores y cometas
Estdn tocando diana. 15
II
Horas despu^s, cuando la negra noche
Cubrid de luto el campo de batalla,
A la luz del vivac p^lida y triste,
Un joven expiraba.
Alguna cosa de dla el centinela 20
Al mirarlo morir, dijo en voz baja . . ,
1
178 COLOMBIA
Alz6 luego el fusil, baj6 los ojos
Y se enjugd dos Idgrimas.
ui
Hoy cuentan por doquier gentes medrosas,
Que cuando asoma en el oriente el alba,
5 Y en el cuartel tambores y cometas
Estdn tocando diana . . .
Se ve vagar la misteriosa sombra,
Que se detiene al pie de una ventana
Y murmura: no llores, alma mia,
10 Que volver^ manana.
CUBA
DON JOS£ MARIA HEREDIA
EN EL TEOCALU DE CHOLULA
jCuanto es bella la tierra que habilaban
Los aztecas valientesi Ed su seno
En una estrecha zona concentrados
Con asombro se ven todos los climas
Que hay desde el polo al ecuador. Sus llanos
Cubren a par de las doradas mieses
^m Las caiias deliciosas. El naranjo
^B Y la pifia y el pldtano sonante,
^H Hijos del suelo equinucclal, se mezclan
^H A la frondosa vid, al plno agreste,
^H V de Minerva ai arbol majestuoso.
^H Nieve etemaS corona las cabezas
^^t De I^.taccihuai purisimo, Orizaba
^^F Y Popocatepec; sin que el in\'iemo
^^1 Toque jamis con destructora mano
^H Los campos fertilisimos, do ledo
^^1 Los mira el indio en purpura ligera
^^M Y oro teiiirse, redejando el brillu
^^M Del Sol en occidente, que sereno
^^H En bielo etenio y perennal verdura
L _
■ iSo CUBA ^^I^^H
H| A torrentes vertio su luz dorada, ^^^H
V Y vio a naturaleza conmovida ^^^|
Con su dulce calor hervir en vida.
Era la tarde: su ligera brisa
Las alas en silencio ya plegaba
Y entre la hierba y drboles dormia,
Mientras el ancho sol su disco hundia
Detr^ de Iztaccihual. La nieve etema
Cual disuelta en mar de oro, semejaba
Temblar en toroo de ^1: un arco inmenso
Que del empireo en el cenit finalia
Corao espl^ndido portico del cielo
D I tid y entellante gloria,
De Ihm yos recibia
Lo 1 es q mos. Su brillo
Desf 11 d f : la blanca luna
Y d \ 1 ella solilaria
En el cielo desierto se veian.
[Crepusculo feiiz! Hora mas bella
Que la alma noclie 6 el brillante dta.
jCu^nto es dulce tu paz al alma mia!
HallSt>ame sentado en la famosa
Choluteca pirimide. Tendido
El llano inmenso que ante mf yada,
Los ojos d espaciarse convidaba.
iQu^ silencio! iqu^ paz! ;0h! ^qui^ndirfa
Que en estos bellos campos rcina alzada
La barbara opresidn, y que esta tierra
1 din a ^m
Ida fl
J
I
Brota mieses tan rica3. abonada
Con sangre de hombres, en que fue inundada
Por la supersticion y por la guerra? . . .
Bajii la noche en tanto. De la esfera
El leve azul, obscuro y mas obscure
Se fu^ tornando: la raovible sombra
De las nubes serenas, que volaban
Por el espacio en alas de la brisa,
Era visible en el tendido llano.
Iztaccihual purisimo volvCa
Del argentado rayo de la iuna
El pldcido fulgor, y en el oriente
Bien como puntos de ore centellaban
Mi! estrellas y mil . . . jOhi yo os saludo,
Fuenles de luz, que de la noche umbria
IluminAis el velo,
y sols del firmamento poesia.
Al paso que la Iuna decUnaba,
Y al ocaso fulgente descendia
Con lentitud, la sombra se extendia
Del Popocatepec, y semejaba
Fantasma colosal. El arco obscuro
A mi Uegd, cubridme, y su grandeza
Fu6 mayor y mayor, hasta que al cabo
En sombra universal veld la tierra.
Vol';! ios ojos al volcan sublime,
Que velado en vapores transparentes,
J
Sus inmensos contornos dibujaba
De occidente en el cielo.
jGigante del Andhuac! ^crimo ei vueln
I>e las edades rapidas no imprime
Alguna huella en tu nevada frente?
Corre el tiempo veloz, arrebatando
Anos y siglos como el norte fiero
Precipita ante si la muchediimbre
De las o!as del mar. Pueblos y reyes
Viste hervir a tus pies, que combatian
Cual bora combatimos, y Uamaban
Eternas sus ciudades, y creian
Fatigar & la tierra con su gloria.
Fueron: de ellos no resta ni memoria.
I Y tu etemo seras ? Tal vez un dia
De tus profiindas bases desquiciado
Caerds; abrumara tu gran ruina
Al yermo Anahuac; alzardnse .en ella
Nuevas generaciones y orgullosas,
Que fuiste negaran . . .
Todo perece
Por ley universal. Aun este mundo
Tan bello y tan brill ante que habi tamos,
Es el caddver pSiido y deforme
De otro mundo que iu€ . . .
En tal contemplacion embebecido
Sorprendiome el sopor. Un iargo suefto,
De glorias engolfadas y perdidas
En la profunda noche de los dempos,
Descendid sobre mt. La agreste pompa
De los reyes aztecas desplegose
A mis ojos atonitos. Veia
Entre la mucbedumbre silenciosa
De emplumados caudillos levantarse
El despota salvaje en rico truno,
De oro, perlas y plumas recamado;
V al son de caracoles belicosos
Ir lentamente caminando al tempio
La vasta procesion, do la aguardaban
Sacerdotes horribles, salpicados
Con saogre bumana rustrus y vestidos.
Con profundo estupor el pueblo esclavo
Las bajas frentes en el polvo hundia,
Y ni mirar a au sefior osaba,
De cuyoa ojos fervidos brotaba
La Sana del poder.
Tales ya fueron
Tus monarcas, Anfihuac, y su oi^llo:
Su vil supersticion y tirania
En el abismo del no ser se hundieron.
Si, que la muerte, universal senora,
Hiriendo a par al despota y esclavo,
Escribe la igualdad sobre la (umba.
Con su manto benefico el olvido
Tu insensatez oculta y tus furores
A la raza presente y la futura.
Esta inmensa estructura
Vi6 a la superstiddn m;is inhumans
En ella entronizarse. 0yd los gritos
De agonizantes rtctimas. en tanto
Que el sacerdote, sin piedad ni espanto,
Les arrancaba el corazdn sangriento;
Mini el vapor espeso de la sangre
Subir calienle al ufendido cielo
Y tender en el sol fiinebre velo,
Y escuchiS los horrendos alaiidos
Con que los sacerdoles sofocal»n
El grilo del dolor.
Muda y desierta
Abora te ves, Kramide. ;Mas vnic
Que semanas de siglos yazgas yerma,
Y la supeisticion & quien ser^-iste
En el abismo del inliemu duenna!
A nuestros nieios lildmos, empero,
S^ leccion saludable; y hov al hombrc
Que ciego en su saber fiitil y vano
Al cielo. cual Titan, truena orgulkiso,
S^ ejempio ignominioso
De la demencia y del fuior humano.
EL NTAGARA
Templad mi lira, didmela. que ^ento
En mi alma estremecida y agjtada
Arder la Inspiracion. ;Ohl ;cuinto tiempo
En [jnieblas pas6, sin que nu {rente
^
^^^H
J
w.
HEREDIA
Brillase con su luz! , . , Niagara undoso,
Tu sublime terror sdlo podria
Tomarme el don divino, que ensanada
Me xoh6 del dolor la mano impfa.
, Torrente prodigioso, calma, calfa 5
Tu tnieno aterrador: disipa un tanio
Las tiniebias que en tomo te circundan;
D^jame contemplar tu faz serena,
Y de entusiasmo ardiente mi alma Uena.
Yo digno soy de contemplarte: siempre m
l/O comiin y mezquino desdenando, J
Ansie por lo terrifico y sublime. I
Al despeiiarse el huracdn furioso, ]
Al retumbar sobre mi frente el rayo,
Palpitando goc^: vi al Oc^ano, 15
Azotado por austro proceloso,
Combadr mi bajel, y ante mis plantas J
Vfirtice hirviendo abrir, y ame el peligro, I
Mas del mar la liereza ,
Ed mi alma no produjo ao
La profunda impresion que tu grandeza.
Sereno corres, majestuoso; y luego
En fcperos peiiascos quebranlado, I
Te abalanzas vioicnto, arrebatado, ]
Como el destino irresistible y ciego. 15
^Qu6 voz humana describir podria
De la sine rugiente
I i
CUBA
La aterradora faz? El alma mla
En vago pensamiento se confunde
Al mirar esa f^rvida corriente,
Que en vano quiere la turbada vista
En su vuelo seguir al horde obscuro
Del precipicio altisimo: mil olas,
Cual pensamiento rflpidas pasando,
Chocan, y se enfurecen,
Y otras mil y otras mil ya las alcanzan,
Y entre espuma y fragor desaparecen.
iVed! jllegan, saltan! El abismo horrendo
Devora los torrentes despeiiados:
Cruzanse en 6\ mil iris, y asordados
Vuelven los bosques el fragor tremecdo.
En las rigidas penas
Rompese el agua: vaporosa nube
Con elastica fuerza
Llena el abismo en torbellino, sube,
Gira en torno, y al ^ter
Luminosa pirdmide levanta,
Y por sobre los monies que le cercan
Al solitario cazador espanta.
Mas jqu^ en ti busca mi anhelante vista
Con inutil afdn? ^Por que no miro
Al rededor de tu cavema inmensa
Las palmas jay! las palmas deliciosas,
Que en las Uanuras de mi ardiente patria
^■^
^
Nacen del sol & la sonrisa, y creccD,
Y al soplo de las brisas del Oc&ino
Bajo UD cielo piirisimo se mecen?
Este recuerdo A mi pesar me vjene , . .
Nada joh Niagara! talta a tu destine,
Ni oira corona que el agresie pino
A tu terrible majestad conviene.
La palma y mirto y deUcada rosa
Muelle placer inspiren y ocio blando
En frSvolo jardin; a ti la suerte
GuardiS mas digno objeto, mas sublime.
El alma libre, generosa, fuerte,
Viene, te ve, se asombra,
El mezquioo deleile menosprecia
Y aun se siente elevar cuaado te nombra.
j Omnipoteote Diosl En otrus climas
Vi monstruos exec rabies,
Blasfemando tu nombre sacrosanto,
Sembrar error y fanatismo impio,
Los campos inundar con sangre y Ilanto,
De Herman OS atizar la infanda guerra,
Y desolar frenelicos la tierra.
Vilos, y el pecho se inflamo d su vista
En grave indignacion. Por otra parte
Vi menlidos filiSsofos, que osaban
Escrutar tus misterios, ultrajarte,
Y de impiedad al lamentable abismo
L
CUBA
A los miseros hombres arrastraban.
Por eso te bused mi d^bil mente
£a la sublime soledad: ahora
Entera se abre d ti; tu mano siente
En esta itimensidad que me circunda,
Y tu profunda voz hiere mi seno
De este raudal en el eterao trueno.
iAaombroso torrente!
\C6nio tu vista el animo enajena
Y de terror y admiracii5n me Uena!
jD6 tu origen esta? .iQuien ferlitiza
Por tantos siglos tu inexhausta fuente?
I Que poderosa mano
Hace que al recibirte
No rebose en la tierra el Oceano?
Abrio el Senor su mano omnipotente;
Cubrid tu faz de nubes agitadas,
Did su voz a tus aguas despenadas,
Y omo con su arco tu terrible frente.
jCiego, profundo, infaligable corres,
Como el torrente obscuro de los siglos
En insondable etemidad! . . . ;A1 hombre
Huyen as! las ilusiones gratas,
Los Horecientes dias,
Y despierta a! dolor! . . . ]Ay! agostada
Yace mi juventud; mi faz, maa-hita;
Y la profunda pena que me agita
Ruga mi frente de dolor aublada.
Nunca tanto sent! como este dfa
Mi soledad y misero abandono
Y lamentable desamor ■ ■ ■ i Podria
En edad borrascosa
Sin amor ser feliz? jOh; si una hermosa
Mi carino fijase,
Y de este abismo al borde turbulento
Mi vago pensamiento
Y ardietite admiracidn acompaiiase!
iC(5mo gozara, vi^ndola cubrirse
De leve palidez, y ser mds bella
En su dulce terror, y sonreirse
Al sostenerla mis amantes brazos . . .
Delirios de virtud . . . jAy! ;Desterrado,
Sin patria, sin amores,
S61o miro ante mi llanto y dolores!
(Niagara poderoso!
jAdids! jadios! Deotro de pocos afios
Ya devorado habra la tumba fria
A tu debil cantor. jDuren mis versos
Cual tu gloria inmortal! jPueda piadosy,
Viendote aigiin viajero,
Dar un suspiro a la memoria mla!
Y al abismarse Febo en occidente,
Feliz yo vuele do el Seiior me llama,
J
Y ai escucbar los ecos de ml fa ma.
Alee en las nubes la radiosa frente.
•PLACIDO* (DON GABRIEL DE LA
CONCEPCION VALD£S)
PLEGARIA A DIOS
jSer de inmensa bondad! ;Dios poderoso!
A vos acudo en mi dolor vehemente . . .
Extended vuestro brazo nmnipotente;
Rasgad de la calumnia el velo odioso;
Y arrancad este sello ignominioso
Con que el mundo manchar quiere mi frente.
iRey de los Reyes! jDios de mis abuelos!
jVos solo sois mi defensor! jDios mio! . . .
Todo lo puede quien al mar sombrio
Olas y peces did, luz S los cielos,
Fuego al sol, giro al aire, al norte hielos,
Vida & las plantas, movimiento al rio.
I
Todo lo pod^is vos; todo tenece,
6 se reanima a vuestra voz sagrada;
Fuera de vos, Sefior, el todo es nada
Que en la insondable eternidad perece;
Y aun esa mis ma nada os obedece,
Pues de ella iu6 la humanidad creada.
AVELLANEDA ii
Yo no OS puedo enganar, Dios de clemencia,
Y pues vuestra eternal sabiduria
Ve al travfa de mi cuerpo el alma mia
C'ual del aire i. la clara transparencia,
Estorbad que bu mil lad a la inocencia
Bata sus pal mas la calumnia impfa.
Estorbadio, Seiior, por la preciosa
Sangre vertida, que la culpa sella
Del pecado de Adan, 6 por aquella
Mad re Candida, dulce y amorosa,
Cuando envuelta en pesar, musiia y llorosa,
Siguii5 m muerte como heliaca cslrella.
Mas si cuadra a tu suma omnipolcncia
Que yo perezca cual malvado impio,
V que !os hombres mi cadaver frio
Ultrajcn con maligna complacencia . . .
jSuene tu voz, y acabe mi eristencia! . . .
iCi3mplase en ml tu voluntad, Dios miol
DONA GERTRUDIS GOMEZ DE
AVELLANEDA
A WASHINGTON
No en lo pasado S. tu virtud modelo,
Ni copia al porvenir dara la hisloria,
Ni otra igual en grandeza e
Dif undirin los siglos en su vuelo.
Mini la Europa ensangrenlar su sueio
Al genio de la guerra y la victoria,
Pero le cupo d America la gloria
De que al genio del bien le diera el cielo.
Que audaz concjuistador goce en su cienda
Mientras al mundo en paramo convierte,
V se envanezca cuando a sien'os mande;
jMas los pueblos sabran en su conciencia
Que el que los rige libres solo es fuerte;
Que el que los bace grandes solo es grande!
AL PARTIR
jPerla del mar! jEstrella de Occidentel
jHermosa Cuba! Tu brillante cielo
La noche cubre con su opaco velo,
Como cubre el dolor mi triste frente.
jVoy i partir! ... La chusma diligente
Para arrancarme del native suelo
Las velas iza, y pronta a su desvelo
La brisa acude de tu zona ardiente.
]Adii5s, patiia feliz, Eden querido!
DiKjuier que el hado en su furor me impeia,
Tu dulce nombre halagara mi oido.
jAdids! . - . iya cruje la turgente vela ...
El ancla se alza ... el buque estremecido
Las alas corta y silcncioso vuela!
ECUADOR
DON JOSfi JOAQUIN OLMEDO
LA VICTORIA DE JUNIN
Canto i. Bolfvar
El trueno horrendo, que en fragor revienta
Y sordo retumbando se dilata
Por la inflamada esfera,
Al Dios anuncia que en el cielo impera.
Y el rayo que en Jumn rompe y ahuyenta 5
La hispana muchedumbre,
Que mds f6roz que nunca amenazaba
A sangre y fuego etema servidumbre,
Y el canto de victoria
Que en ecos mil discurre, ensordeciendo 10
El Hondo valle y enriscada cumbre,
Proclaman d Bolivar en la tierra
Arbitro de la paz y de la guerra.
Las soberbias pirdmides que al cielo
El arte humano osado levantaba 15
Para hablar i, los siglos y naciones,
193
r
s
\
'5
ECUADOR
Templos, do esclavas manos
Deificaban en pompa i sus tiranos,
Ludibrio son del liempo, que con su ala
Debil las toca, y las derriba al suelo,
Despu^s que en fdcil juego el fugaz viento
Bono sus mentirosas inscripciunes;
V bajo los escombros loufundido
Entre las sombras de! elemo olvido
;0h de ambicidn y de mUeria ejemplo!
EJ sacerdote yace, el dios y ef templo.
Mas los sublimes monies, cuya frente
A la region eti^rea se levanta,
Que ven las tempestades i su planta
Brillar, rugir, rompcrse, disiparse;
Los Andes ... las enormes, estupendas
Moles senladas sobre bases de oro,
La tierra con su peso equilibrando,
Jamds se moverAn. EUos, burlando
1
1
30
De ajena envidia y del protervo tiempo
La furia y el poder, seran etcrnos
De Libertad y de Victoria heraldos,
Que con eco profundo
A la postrera edad dirin del mundo:
•Nosotros vimos de Junin el campo;
'S
Vimos que al desplegarse
Del Peru y de, Colombia las banderas,
Se turban las legiones altaneras,
Huye el fiero espanol despavorido,
d
^^^^^^ OLMEDO
..M
6 pide paz rendido.
■
Vend6 BoUvar: el Peru fu^ libre;
Y en triunfal pompa Libertad sagrada
^
En el templo del Sol iu6 colocada. »
^Qui^n es aquel que e! paso lento mueve
s
Sobre el coUado que a Junin domina?
^Que el campo desde alli mide, y el silio
Del combatir y del veneer desina?
^Que la hueste contraria observa, cuenta,
Y en su mente la rompe y desordena,
lO
Y i los mas bravos a morir condena,
Cual aguila caudal que se complace
Del alto cielo en diiisar su presa
Que entre el rebano mal segura pace?
'
'5
Pronto y apercibido a la pelea?
Prefiada en tempcstades le rodea
Nube tremenda: eJ brillo de su espada
Es el vivo reflejo de la gloria;
j
Su voz un trueno; su mirada un rayo.
^Qui^n aquel que, al trabarse la batalla,
Ufano como nuncio de victoria,
It
Un corcel impetuoso farigando.
^H
Discurre sin cesar por toda parte ? . . .
^^H
^Qui^n, sino el hijo de Colombia y Marte?
Son6 su voz: "Peruanos,
■
Mirad allf los duros opresores
d
ECUADOR
De vuestra patria. Bravos colombianos,
En cien crudas bat alias vencedores,
Mirad alii los enemigos fieros
Que buscando venis desde Orinoco;
Suya es la fuerza, y el valor es vuestro,
Vuestra sera la gloria;
Pues lidlar eon valor y por la patria
Es el mejor presagio de victoria.
Acometed: que siempre
De quien se atreve mis el triunfo ha sido:
Quien no espera veneer, ya esta vencido. '
Dice; y al punto, cual fugaces carros
Que, dada la senal, parten, y en densos
De arena y polvo torbellinos ruedan,
Arden Ins ejes, se estremece el suelo,
Estrepito confuso asorda cl cielo,
Y en medio del aiSn cada cual teme
Que los demds adelantarse puedan;
Asi los ordenados escuadrones,
Que del iris reflejan los colores
0 la imagen del sol en sus pendones,
Se avanzan d la lid. jOh! jqui^n temiera,
Qui^n, que su impetu mismo los perdiera!
Tal el li^roe brillaba
Por las primeras filas discurriendo.
Se oye su voz, su acero respiandece
Do mas la pugna y el peligro crece;
J
I
Nada le puede resistir , . . Y es fama,
]Oh portento inaudito!
Que el bello nombre de Colombia escrito
Sobre su frente en torno despedfa
Rayos de luz tan viva y refulgenle,
Que deslumbrado el espanol desmaya,
Tiembla, pierde la voz, el movimiento:
Solo para la fuga liene aliento.
As!, cuando ea la noche algun malvado
Va & descargar el brazu levantado,
Si de improviso lanza un rayo el cielo,
Se pasma, y el punal tnfmulo suelia;
Hielo mortal & su furor sucede;
Tiembla y horrorizado retrocede.
Va no hay mas combatir. El encmigo
El campo todo y la victoria cede.
Huye cual ciervo herido; y & donde huye
Allt encuentra la muerte. Los caballos
Que fueron su esperanza en la pelea,
Heridos, espantados, por el campo
O enlre las filas vagan, salpicando
El suelo en sangre que su crin gotea;
Derriban al jinete, lo atropellan,
Y las calervas van despavoridas,
0 Unas en otras con terror se estrellan.
Crece la confusion, crece el espanto,
Y al impulso del aire, que vibrando
ECUADOR
Sube en clamorea y a!aridos lleno,
Tremen las cumbres que respeta el trueno.
Y discurriendo e[ vencedor en tanto
For cimas de cadaveres y heridos,
Postra al que huye, perdona 5 los rendidos.
jPadre del universo, sol radioso,
Dios del Perd, modera omnipotente
El ardor de lu carro impetiioso,
Y no escondas tu luz indeficiente! . . .
jUna hora mas de luz! . . . Pero esta hora
No fu^ la del Desdno. El dios oia
El voto de su pueblo, y de la frente
El cerco de dia mantes descenia.
En fugaz rayo el horizonte dora,
En mayor disco menos luz ofrece,
Y veloz tras los Andes se obscurece.
Tendi6 su manlo Idbrego la noche,
Y las reliquias del perdido bando.
Con sus tristes y at6niCos caudillos,
Corren sin saber donde esjiavoridas,
Y de su sombra misma se estremecen;
Y al fin en las tinieblas ocultando
Su afrenla y su pavor, desaparecen.
jVicloria por la palria! joii Dios! jVictorial
jTriunfo S. Colombia y £l Bolivar gloria!
^
MEXICO
DON JOSfi JOAQUIN DE PESADO
LA SERENATA
I Oh, tu, que duermes en casto lecho,
De sinsabores ajeno el pec ho,
Y d los encantos de la hermosura
Unes las gracias del corazon,
Deja el descanso, doncella pura, 5
Y oye los ecos de mi cancion!
I Quien en la tierra la dicha alcanza ?
Iba mi vida sin esperanza,
Cual nave errante sin ver su estrella,
Cuando me inundas en daridad; lo
Y desde entonces, gentil doncella,
Me revelaste felicidad.
jOh, si las ansias decir pudiera
Que siente el alma, desde que viera
Ese semblante que amor inspira 15
Y los hechizos de tu candor!
Mas, rudo el labio, torpe la lira,
Decir no puede lo que es amor.
Del Iris puede pintarse el velo;
199
MfiXICO
Del sol los rayos, la luz del cielo;
La negra noche, la blanca aurora;
Mas no tus gradas ni tu poder,
Ni menos puede de quien te adora
Decirse el ilaoto y el padecer.
Amor encuentra doquier que vuelva
La vista en tomo; la verde selva,
Florido el prado y el bosque urabrio,
La tiema hierba, la hermosa llor,
Y la cascada, y el claro rio,
Todos me dicen: amor, amor.
Cuando te ausentas, el camjio irisle
De luto y sombras luego se vistc;
Mas si regresas, la primavera
Hate sus galas tod as lucir:
jOli, nunca, nunta de esta ribera,
Duncclla hermusa, <iuii;ras partir!
DON FERNANDO CALDERON
LA ROSA MARCHITA
^ Eres tu, triste rosa,
La que ayer difundia
Balsdmica ambrosia,
Y tu altiva cabeza levantando
Eras la reina de la selva umbria ?
J
FERNANDO CALDER(5N aol
I Por qu^ tan pronto, dime,
Hoy triste y desolada
Te encuentras de tus galas despojada ?
Ayer viento suave
Te halagd carinoso; 5
Ayer alegre el ave
Su cdntico armonioso
Ejercitaba, sobre ti posando;
Tu, rosa, le inspirabas,
Y d cantar sus amores le excitabas. lo
Tal vez el fatigado peregrino,
Al pasar junto d ti, quiso cortarte:
Tal vez quiso Uevarte
Algun amante i. su ardoroso seno;
Pero al ver tu hermosura, 15
La compasidn sintieron,
Y su atrevida mano detuvieron.
Hoy nadie te respeta:
El furioso aquildn te ha deshojado.
Ya nada te ha quedado 30
jOh reina de las flores!
De tu brillo y tus colores.
La fiel imagen eres
De mi triste fortuna:
jAy! todos mis placeres, 35
Todas mis esperanzas una £ una
Arrancdndome ha ido
Un destino funesto, cual tus hojas
Arrancd el hunicdn embravecido!
lY que, ya triste y sola,
No habra quien te dirija una mirada?
ijEstaras condenada
A eterna soledad y aniargo Uoro?
No, que existe un mortal sobre la tierra,
Un joven infeliz, desesperado,
A quien horrible suerte ha condenado
A perpetuo gemir: ven, pues, job rosa!
Ven a mi amante seno, en el reposa
Y ojala de mis besos la pureza
Resucitar pudiera tu belleza.
Ven, ven, ioh triste nisal
Si es mi suerte a la tuya semejante,
Burlemos gu porfia;
Ven, todas mis caricias seran tuyas,
Y tu (iltima fragancia sera mia.
DON MANUEL ACUNA
NOCTl'KNO
A Roiario
jPues biea! yo necesito
Decirte que te adoro,
Decirte que le quiero
ACUl^A ao3
Con todo el corazdn;
Que es mucho lo que sufro,
Que es mucho lo que lloro,
Que ya no puedo tanto,
Y al grito en que te imploro 5
Te imploro y te hablo en nombre
De mi ultima ilusidn.
II
Yo quiero que td sepas
Que ya hace muchos dfas
Estoy enfermo y pdlido 10
De tanto no dormir;
Que ya se han muerto todas
Las esperanzas mlas;
Que estdn mis noches negras,
Tan negras y sombrias, 15
Que ya no s^ ni ddnde
Se alzaba el porvenir.
Ill
De noche, cuando pongo
Mis sienes en la almohada
Y hacia otro mundo quiero 20
Mi espiritu volver,
Camino mucho, mucho,
Y al fin de la Jornada
Las f ormas de mi madre
Se pierden en la nada, 2$
I
Y tu de nuevo vuelvea
En mi alma i aparecer.
n
Comprendo que tus besos
Jamiis han de ser mios;
Comprendo que en tus ojos
No me he de ver jamas;
Y te amo, y en mis locos
Y ardientes desvarios
Bendigo tus desdenes,
Adoro tus desvlos,
Y en vez de amarte menos,
Te quiero mucho mis.
A veces pienso en darte
Mi eterna despedida,
Borrarte en mis recuerdos
Y hundirte en mi pasitin;
Mas si es en vano todo
Y el alma no te olvida,
iQu^ quieres tu que yo haga,
Pedazo de mi vida;
Qui quieres tG que yo haga
Con esle coraaSn !
Y luego que ya estaba
Concluido tu santuario,
acuNa 205
Tu Idmpara encendida,
Tu velo en el altar,
£1 sol de la manana
Detrds del campanario,
Chispeando las antorchas, 5
Humeando el incensario,
Y abierta alld d lo lejos
La puerta del hogar ...
Vll
j Qu^ hermoso hubiera sido
Vivir bajo aquel techo, 10
Los dos unidos siempre
Y amdndonos los dos;
Tu siempre enamorada,
Yo siempre satisfecho,
Los dos una sola alma, 15
Los dos un solo pecho,
Y en medio de nosotros
Mi madre como un Dios!
vni
jFigurate qu^ hermosas
Las horas de esa vida! 20
jQu^ dulce y bello el viaje
Por una tierra as!!
Y yo sonaba en eso,
Mi santa prometida.
Y al delirar en eso *5
ao6
MfSXICO ^^^^^^^
Con la alma estremecida, ;
Pensaba yo en ser bueno
Por ti, no m£s per li.
Bien sabe Dios que fee era
5
Mi mLis bermoso sueno,
Mi afan y mi esperanza.
Mi dicha y mi placer;
jBien sabe Dios que en nada
Cifraba yo mi empetio,
lo
Sino en amarte mucho
Baj'o el liogar risuefio
Que me envolvid en sus besos
Cuando me vio nacer!
£sa era mi esperanza ... '
IS
Mas ya que a sus fulgores
Se opone el hondo abismo
Que existe entre los dos,
lAdi6s por la vez ultima, !
Amor de mis amores;
K>
La luz de mis linleblas,
La esencia de mis flures;
Mi lira de poeta,
P
Mi juveniud, adifis! ■
JUAN DE DIOS PEZA
DON JUAN DE DIOS PEZA
REIR LLORANDO
jCuantos hay que, cansados de la vida,
Enfermos de pesar, muertos de tedio,
Hacen reir como el actor siiicida.
Sin encontrar, para su naal, remedio!
jAyl jCufintas vcces al reir se llora!
jNadie en lo alegre de la risa fie,
Porque en los seres que el dolor devora
El alma llora cuando el rostro rie!
Si se muere la fe, si huye U calma,
Si solo abrojos nuestra planta pisa,
Lanza S. la faz la tempestad del alma
Un reldmpago triste: la sonrisa.
El camaval del mundo engafia tanto.
Que las vidas son breves mascaradas;
Aqiii aprendemos i reir con llanto,
Y lambi^n 5 Uorar con carcajadas.
FUSILES V MUSECAS
Juan y Margot, dos Angeles hermanos,
Que embellecen mi hngar con sus carinos,
Se entreliener con juegos tan humanos
Que parecen personas desde nii\os,
MEXICO
Mientraa Juan, de tres afios, es soldado
Y monta en una cafia endeble y hueca,
Besa Margot con labios de granado
Los labios de cartdn de su n
Lucen los das sus inocentes galas,
Y alegres suenan en tan dulces lazos:
El, que cxuza sereno entre las balas;
Ella, que arrulla ud nino entre sus brazos.
Puesto al hombro el fusil de hoj'a de lata,
El kepis de papel sobre la frente,
Alienta al nino en su inocencia grata
El orgullo viril de ser valiente.
Quizd piensa, en sus j'uegos infantiles,
Que en este mundo que su af£n recrea,
Son como el suyo todos los fusiles
Con que la torpe hunianidad pelea.
Que pesan poco, que sin odios lucen,
Que es igual el mSs d^bil al mds fuerte,
Y que, si se disparan, no producen
Humo, tragor, consternacidn y muerte.
;Oh misteriosa condicidn humana!
Siempre lo opuesto buscas en la tierra:
Ya delira Margot por ser anciana,
Y Juan que vive en paz ama la guerra.
JUAN DE DIOS PEZA 209
Mirdndolos jugar, me aflijo y callo;
i Cual sera sobre el mundo su f ortuna ?
Suefia el nino con armas y caballo,
La nina con velar junto a la cuna.
Ei uno corre de entusiasmo ciego, 5
La nina arrulla a su mufieca inerme,
Y mientras grita el uno: Fuego, Fuego,
La otra murmura txiste: Duerme, Duerme.
A mi lado ante juegos tan extranos
Concha, la primog^nita, me mira: 10
jEs toda una persona de seis aiios
Que charla, que comenta y que suspiral
I Por qu^ inclina su Idnguida cabeza
Mientras deshoja inquieta algunas flores ?
I Serd la que ha heredado mi tristeza ? 15
I Serd la que comprende mis dolores ?
Cuando me rindo del dolor al peso,
Cuando la negra duda me avasalla,
Se me cuelga del cuello, me da un beso,
Se le saltan las Mgrimas, y calla. 20
Sueltas sus trenzas claras y sedosas,
Y oprimiendo mi mano entre sus manos,
Parece que medita en'muchas cosas
Al mirar como juegan sus hermanos . . .
2IO MfiXICO
llnocencia! jNinez! jDichosos nombresl
Amo tus goces, busco tus cariiios;
jCdmo han de ser los sueiios de los hombres
M£s dulces que los sueiios de los ninos!
NICARAGUA
DON RUBfiN DARIO
A ROOSEVELT
Es con voz de la Biblia 6 verso de Walt Whitman
Que habria que llegar hasta ti, jcazador!
Primitivo y modemo, sencilio y complicado,
Con un algo de Washington y mucho de Nemrod.
Eres los Estados Unidos,
Eres el futuro invasor
De la America ingenua que tiene sangre indfgena,
Que aun reza i. Jesucristo y aun habla ei
Eres soberbio y fuerte ejemplar de tu raza;
Eres culto, eres habtl; te opones d Tolstoy.
V domando caballos 6 asesinando tigres,
Eres un Alejandro Nabucodonosor.
(Eres un protesor de Energia
Como dicen los locos de hoy.)
Crees que la vida es incendio.
Que el progreso es erupcii5n,
Que en donde pones la bala
El porvenir pones.
^
213 NICARAGUA
No.
Los Estados Unidos son potcntes y grandes.
Cuando ellos se estremecen hay un hondo temblor
Que pasa por las vertebras enormes de los Andes.
Si clamdis, se oye como el rugir de un !e6n.
YaHugod Grant lodijo: "Lasestrellasson vuestras. •
(Apenas brilla alzdndose el argentino sol
Y la estrelk chilena se ievanta . . .) Sois ricos;
Juntdis al culto de Hercules el culto de Mamnou;
Y alumbrando e! camino de la facil conquista,
La Libertad Ievanta su antorcha en Nueva York.
Mas la America nuestra que tenia poetas
Desde los viejos tiempos de Netzhualcoyolt,
Que ha guardado las huellas de los pies del gran Baco,
Que el alfabeto pdnico en un tierapo aprendifi,
Que consult^ los astros, que conocid la atldntida
Cuyo nombre nos llega resonando en Plaldn,
Que desde los remotos momentos de su vida
Vive de luz, de fuego, de perfume y de amor,
La America del grande Moctezuma, del Inca,
La America fragante de Crist<jbal Coldn,
La America catiSlica, la America espanola,
La America en que dijo ei noble Guatemoc:
'Vo no estoy en un lecho de rosas"; esa America
Que tiembla de huracanes y que vive de amor,
Hombres de ojos sajones y alma bdrbara, vive
Y sueQa. Y ama y vibra; y es la hija de! Sol.
Teoed cuidado. jVive la Ani6rica espanola!
J
RUBfiN DARlO 213
Hay mil cachorros sueltos del ledn espanol.
Se necesitaria, Roosevelt, ser Dios mismo,
El Riflero terrible y el fuerte cazador,
Para poder tenernos en vuestras ferreas garras.
Y, pues contdis con todo, falta una cosa: ) Dios I
■ VENEZUELA
DON andr£s bello
A LA VICTORIA DE BAILEN
Rompe el Leon soberbio la cadena
Con que atarle pens6 la felonia,
Y sacude con noble bizarria
Sobre el robusto cuello ta melena.
La espuma del furor sus labios lien a
Y 4 tos njgidos que indignado envia
El tigre tiembla en la caverna umbria,
Y todo el bosque atonito resuena.
El Le<5n despert(5; jtemblad, traidores!
Lo que vejez creisleis, fu^ descanso;
Las juveniles fuerzas guarda enteras
Perseguid, alevosos cazadores,
A la timida liebre, al ciervo manso;
No insultdis al monarca de las fieras
I.A AGKICULTURA DE LA ZONA t6rRIDA
;Salve, fecunda zona,
Que al sol enamorado circunscribes
t
BELLO
El vago curso, y cuanln ser se anima
En cada vario clima,
Acariciada de su luz, concibes!
Tij tejes al verano su guimalda
De granadas espigas; tii la uva
Das d la hirviente cuba:
No de purpurea flor, 6 roja, 6 gualda,
A tus floreslas bellas
Falta matiz alguno; y bebe en ellas
Aromas mil el vieoto;
V greyes van sin cuento
Paciendo tu verdura, desde el llano
Que tiene por lindero el horizonte,
Hasta el erguido monte,
De inaccesible nieve siempre cano.
Tu das la cana hermosa,
De do la miel se acendra,
Pur quien desdena el mundo los panales:
Tu en urnas de cora! cuajas la almendra
Que eo la espumante jlcara rebosa:
BuUe carmin viviente en lus nupales,
Que afrenta fuera al miirice de Tiro;
Y de tu anil la tinta generosa
Emula es de la lumbre del zafiro;
El vino es tuyo, que ta herida agave
Para los hijos vierte
Del Anihuac feiiz; y la hoja es tuya
Que, cuando de suave
Humo en cspiras vagorosas huya,
VENEZUELA
Solazari el fastidio al ocio inerte.
Tu vistes de
El arbusto sabeo,
Y el perfume le das que en ios festinea
La fiebre insana templard a Lieo.
Para tus hijos la procera paJma
Su vario feudo cria,
Y el ananis sazona su ambrosfa:
Su bianco pan la yuca,
Sus rubias pomas la patata educa,
Y el algodon despliega al aura leve
Las rosas de oro y el velldn de nieve.
Tendida para ti la fresca parcha
En enramadas de verdor lozano,
Cuelga de sus sarmientos trepadores
Necdreos globos y franjadas (lores;
Y para ti el malz, jefe altanero
De la espigada tribu, hinche su grano;
Y para ti el banano
Desmaya ai peso de su dulce carga;
El banano, primero
De cuantos concedid belUis presentes
Provideocia & las gentes
Del ecuador feliz con mano larga.
No ya de humanas artes obligado
El premio rinde opimo:
No es & la podadera, no al arado
Deudor de su racimo;
Escaaa industria bAstale, cual puede
Hurtar A sus fatigas mano esclava:
Crece veloz, y cuando exhausto acaba,
Adulta prole en torno le sucede.
jOh! jLos que afortunados poseedores
Habeis nacido de la lieira hermosa
En que resena hacer de sus favores,
Co mo para ganaros y atraeros,
Quiso naturaleza bondadosa!
Romped el duro eocanto
Que OS tiene entre murallas prisioneros.
El vulgo de las artes laborioso,
El mercader que, necesario al lujo,
Al lujo necesita,
Los que anhelando van tras el aeiiuelo
Del alto cargo y del honor ruidoso,
La grey de aduladores parasita,
Gustosos pueblen ese infecto cans;
El campo es vuestra heren
^ Amiis la libertad ? El c
No all^ donde el magnate
Entre armados satelites se
Y de la moda, universal s«
Va !a razdn al triunfal car
Y a la fortuna la insensata plebe,
Y el noble al aura popular adora.
^0 la virlud amais? jAh! jQue el retire),
La solltaria calma
l: en el gozaos.
ipo habita:
VENEZUELA
En que, juez de si misma, pasa el alma
A las acciones muestra,
Es de la vida la mejor maestral
^Busciis durables goces,
Felicidad, cuanta es al hombre dada
Y S su teireno asiento, en que vecina
Est5 la risa al Uanto, y siempre |ah! sierapre,
Donde halaga la flor, punza la espina?
Id i gozar la suerte campesina;
La regalada paz, que ni rencores,
Al labrador, ni envidias acibaran;
La cama que mullida le preparan
El contento, el irabajo, el aire puro;
Y el sabor de los fAciles manjares,
Que dispendiosa gula no !e aceda;
Y el asilo seguro
De sus patrios hogares
Que d la salud y al regocijo hospeda.
El aura respirad de la montana,
Que vuelve al cuerpo laso
El perdido vigor, que d la enojosa
Vejez retarda el paso,
Y el rostro & la beldad tine de rosa.
(Es alii menos blanda por ventura
De amor ]a llama, que lemplo el retato?
;0 menos aficiona la hermosura
Que de extranjero ornato
Y afeites imposlores no se cura?
tO el coraziin escucha indiferente
J
BELLO
El lenguaje inocente
Que los afectos sin disfraz expresa
Y S la intencidn ajusta la promesa?
No del espejo at impurtuno ensayo
La risase compone, el paso, el gesto;
No falta alii carmin al rostro honesto
Que la modestia y la salud colora,
Ni la mirada que lanaS al soslayo
Timido amor, la senda al alma ignora.
I Esperar^is que forme
Mis venturosos lazos himeneo,
Do el interfe barata,
Tirano del deseo,
Ajena mano y fe por nombre 6 plata, ■
Que do conforme guslo, edad conforme,
Y elecci6n libre, y mutuo ardor los ata?
jOh jovenes naciones, que ceiiida
Alzdis sobre el atonito Occidente
De tempranos laurel es la cabeza!
Honrad al campo, honrad la simple vi
Del labrador y su frugal Uaneza.
As! tendrdn en vos perpetuamente
La libertad morada,
Y freno la ambicii5n, y la ley templo.
Las gentes & la senda
De la inmortalidad, ardua y fragosa,
Se animarfin, citando vuestro ejemplo.
Lo emulara celosa
VENEZUELA
Vuestra posteridad, y nuevos nombres
Afiadiendo la fama
A los que ahora aclama,
'Hijos son fetos, hijos
(Pregonara ft los hombres)
De los que vencedores superaron
De los Andes la cima:
De los que eti Boyacft, los que en la aret
De Maipo y en Junin, y en la campafia
Gloriosa de Apurima,
Postrar supieron al ieiSn de Espafla."
DON JUAN A. PfiREZ BONALDE
VUELTA A LA PATRIA
A mi licrmana Elodia
[Tien-a! grita en la prnra el navegaote,
Y coufusa y distante,
Una linea indecisa
Enire bnimas y ondas se divisa.
Poco d poco del seno
IJcstacandose va, del horizonte,
Sobre el ^ler sereno
La cumbre azul de un monte;
Y asi como el bajel se va acercando,
Va extendiendose el cerro
Y Unas formas exlraflas va tomando;
pErez BONALDE
Formas que he visto cuando
Sofiaba con la dicha en mi dcstierro.
Va la vista columbra
Las riberas bordadas de palmares,
Y una brisa cargada con la esencia
De silvestres violetas y azahares
En mi memoria alumbra
El recuerdo feliz de mi inocencia,
Cuando pobre de afios y pesares
Y rico de ilusiones y alegrla,
Bajo las pal mas retozar solia
Oyendo el arruUar de las palomas,
Bebiendo luz y respirando aromas.
Hay algo en esos rayos brilladores
Que juegan por la atm(^sfera azulada,
Que me habla de temuras y de amores
De una dicha pasada;
Y el vienlo al suspirar entre las cuerdas
Parece que me dice : — ,1 No le acuerdas ? .
Ese eieb, ese mar, esos ccx^ales,
Ese monte que dora
El sol de las regiones tropjcales . . .
jLuz! jluz al fin! los reconozco ahora;
Son ellos, son los mismos de mi infancia,
y esas playas que al sol del mediodia
Brillan 6. la distancia,
jOh inefable alegria!
Son las riberas de la patria mia.
333 ^^H
Ya muerde el fondo de la mar hirviente ^^H
Del ancla el f^rreo diente; ^^^|
Ya se acercan los botes desplegando ^^^|
Al aire pum y blando ^^^^|
S La enseiia tricolur del pueblo mio. ^^^|
jA tierra! jd tierra! jO la emocidn me ahoga, I
0 se aduefla de mi alma el desvario!
IJevado en alas de mi ardiente anhelo,
Me lanzo presuroso al barquichuelo
10 Que ii las riberas del hogar me invita.
Todo es grata armonia: los suspiros i
De la onda de zafir que el remo agita,
De las marinas aves
Los caprichosos giros,
IS Y las notas sUaves
Y el timbre lisonjero,
Y la magia que toma,
Hasta en labios del tosco marinero,
El dulce son de mi narivo idioma.
ao jVolad, volad velwes,
Ondas, aves y vuces!
Id &, la tierra en donde el alma tengo,
y decidle que vengo
A reposar, cansado caminanle,
35 Del hogar & la sombra itn aolo instante.
Decidle que en mi anhelo, en mi delirio
Por Uegar i. la orilla, el pecho siente ■
PfiREZ BONALDE
De TSntalo el martirio;
Decidle, en fin, que mientra estuve ausente
Ni un dia, ni un instante la he olvidado,
V Uevadle este beso que os confio,
Tributo adelantado
Que desde el fondo de mi scr le envlo.
iBoga, boga remero! iAsil ;L)egamos.'
jOh, emocion hasla ahwa no sentida!
Ya piso el santo suelo en que probamos
El almlbar primero de la vida.
Tras ese monte azul, cuya a!ta cumbre
Lanza reto dc orgullu
Al zafir de los cieios,
EsiS el puebio gentil donde a! amilto
Del maternal amor rasgue los velos
Que me ocultaban la primera lumbre.
jEn marcha, en martha, postilion; agita
El latigo inciementc!
Y d mis andar el cothe diligente
Por la oriila del mar se precipita.
No hay pefia ni ensenada que en mi mente
No venga i desperlar una memoria;
Ni hay ola que en la arena humedecida
No escriba cun espuma alguna historia
De los felices tiempie de mi vida.
Todo me habla de suefios y cantares,
De paz, de amor y de tranquilos bienes;
y el aura fugitiva de los mares
r
VENEZUELA
:, leda, a acariciar mis sicn
a al oido
Con misterioso acento: jBienvenido!
DON HERACLIO MARTIN DE LA
GUARDIA
OLTIMA ILUSldN
Cay6 empuflando el invencibie acero
Que coroni5 de lauros la victoria.
Terror de extrafios, de su patria gloria,
En traidora asechanza el caballero.
• — Llevad mi espada a! pueblo por quien muero.
Y airado el pueblo vengue mi memoria . . .
Este anillo S ... mi amor ... La negra historia
A mi madre callad. * — Dijo ei guerrero.
Sucumbid el heroc . . . jSacrificio vanol
Que al susjiiro final de su agonia
Besaba el pueblo la traidora mano:
jA otro amador la amada sonreia!
S61o la madre en su dolor tirano
Al guerrero Uoraba noche y dia.
CANCIONES
La Carcelera
LA CACHUCHA
La Cachucha
LA CACIIUCHA
230 CANCIONES
La Valenciana.
i=iig^ii^ispi^
cancion devota 233
Canci6n Devota
tep=^
=f^
>^^
^
E±3lM
li-lo
que
m
van des - ca
mm
-zos. Ml
- ri
a.
a -do-
^
*E
T
IJ^
236
CANCtONES
m^:is--f--=z^\f=-'^m
1
- lel tan-to baJ-l^quemE en-a-mo-r^, |a-le,
EL TKAUALA
CANCIONES
EL TRAGALA
^#
CANCIONES
Himao De Riego.
1
l^^^^g
cS3=
Sal -da - dos, U
IIIMNO DE RIEGO.
p*«
jjj'^/ i i-
f^=f=f
=^ / i ^
lid,
u - re - mm por
e - Ua ve
RTl I' M 1
CANCIONES
1
sa - d(>s, can - te - nios, sol - da - doa, el I
HIMNO HE RIEGO 245
I i3p=!ss^p^p^^
HIMNO NACIONAL DE MtXlCO 247
Himno Nacional De Mexico
HIMNO NACrONAL DE MEXICO 249
HIMNO NACIONAL DE CUHA
Himno Nacional De Cuba
Pedro Firuerzdo
1. |A1
2. No
3. No
om-ba - le co - rred Ba - ya
se nu-ble ja -m^ e-sae
m
- seslQue la
- roQueeaco-
- Ua Que las
pa-lriaoscon-le
bar - de cual to
hi - jas de Cu
m-plao
- do
- ba bor
-gu
llo
da -
L
No te -
No re -
Y que
CA.\CIOXES
Biem - pre
li - brey
3£— ^-^
la pa . Ilia es vi
suim-pe - rio ca
vir.
y6.
116n.
En ca -
Sea ben -
jGlo-riay
^4—^
- -i=-^
dM
-^i 1
^
. En o-pro-hioy a- fren - ta su-
di - lalano-chese-re-na , . En que en a-le-gres cam-posde
jm-brei loshi-josde Cu-bal ]Glo-riaynom-btealva-lien-leA-giii- |
do. Del cia - rin es - cu - chad e) no ■
ra El cla - rIn de la gue - na so .
rat iVi - val [Vi - val laa - Ie - gre ban -
rr—r^EHg^^P
do; A las ar mas.va-lien -tes, co-iredt
la Yel cu-ba - no ser li - bre jii - m.
a Que en los cam-pos de Ya-i
^
ROMANCES. The Spaniah romances viejas, which correspond
in form and spirit lo the early English and Scotch ballads, enlist in
Rreat number and variety. Anonymous and widely known among
the people, they represent as well as any literary product can the
spirit of the Spaniah nation of the period, in the main stem and
martial, but sometimes tender and pkintive. Most of them
were lyritten in the fifleenih and sixteenth centuries; the earliest
to which a date can be assigned is Cercada lieite d Bacai, which
must have been composed soon after 1368. Others may have
their roots in older events, hut have undergone constant modifica-
tion since that time. The romance po/mlar is still alive in Spain
and many have recently been collected from oral tradition (cf.
Mendndez y Pelayo, Aniologia, vol. X).
The romances were once thought to be relics of very old lyiico-
epic songs which, gathering material in the course of time, be-
came the long epics that are known to have existed in Spain in the
twelfth to fourteenth centuries (such as the Poema del Cid, and
the lost caalares of Bernardo del Ciirpia, the Infanles de Lara and
Ferndn Conzilez). But modem investigation has shown conclu-
sively that no such age can be ascribed to the rornaiicfs in their
present form, and that in so far as they have any relation with
the epic cycles just cited (hey are rather descendants of (hem
than ancestors, — striking passages remembered by the people
and handed down by them in constantly changing form. Many
are obviously later in origin; such are the romatues fronUrkos,
springing from episodes of the Moorish wars, and the romances
novelescos, which deal with romantic incidents of daily life. The
I Juglarescos are bnger poems, mostly concerned Hjth
25J
m^
254 NOTES
Charlemagne and his peers, veritable degenerate epica, c
by itinerant minstrels to be sung [n streets and taverns to throngs
of apprentices and rustics. They have not the spontaneity and
vigor which characterize the better romances vkjos.
A few of the romances were printed in the CaiKioiiero general
of 1511, and more in loose sheets {pliegos suetlos) not much later
in date; but the great collections which contain nearly all the
best we know were the Cancionero de Tema?tees "sin aHo,"
(shortly before 1550), the Canciimera de romances of 1550 and
the Sitva de tariffs romances (3 parts, 1550). The most compre-
hensive modem collection is that of A. Dur&n, Romancero general,
2 vols., Madrid, 184^-1851 (vols. 10 and 16 of the Biblioteca de
Auleres espaneles). The best selected is the Primavero y Jlor de
romances of Wolf and Hofmann (Berlin, 1856), reprinted in
vols. VIII and IX of Menfindez y Pelayo's Atiiologla de poetas liri-
cos caslellanos. This contains nearly all the oldest and best roman-
ces, and includes poems from pliegos sttellos and the second part of
the SUm, which were not known to Durfin. Men^ndez y Pelayo,
in his Apindices i la Primavera y jler (AnM. vol. IX) has given
still more texts, notably from the third part of the SUva, one of
the rarest books in the world. The fundamental critical woHo on
the romances are: F. Wolf, Ueber die Romanzenpoesie der Spanier
(in Sludien, Berlin, 1859); Milfi y Fontanals, De la poesia ker(nco-
pspidar caslellana (1874); and Menfindez y Pelayo, Tratado de
los romances viejos (vols. XI and XH of the Anlologla, Madrid,
1903-1906).
The rotnaiices, as usually printed, are in octosyllabic lines,
with a fixed accent on the seventh syllable of each and asso-
nance in alternate lines.
Many English translators have tried their hand at Spanish
ballads, as Thomas Rodd (1812), J. G. Lockhart (1823), John
Bowring (1824), J, V. Gibson (1887) and others. Lockhart's
versions are the best known and the least literal.
In the six romances included in this collection the lyrical quality
NOTES
255 '
prcflomiiiates above Uie narrative (cf. the many rimes in -or in
FoHle-frida and El priiionero). AbenAmar is properly a frontief
ballad, and La conslattcia, perhaps, belongs with the Carolingiaii
cycle; but the rest are detached poems of a romantic nature.
{See S, G. Morley's Spaniik BiOads. New York, igii.)
1. — Abenfimai is one of a very few romances which arc sup- I
posed to have their origin in Moorish popular poetry. The J
Christian king referred to is Juan II, who defeated the Moon ■]
at La Higueruela, near Granada, in 1431. It is said that oa 1
the morning of the battle he questioned one of his Moorish 1
allies, Yusuf Ibn Alahmar, concerning the conspicuous object J
of Granada. The poem was utilized by Chateaubriand for J
two passages of Les aveiitures du dernier AbencSrage.
I. Abenlmar^/tH Alahmar: see above.
g. The verba) forms in -ara and -iera were used then as noi
as Ihe equivalent of the pluperfect or the preterit indicativt
II. la: ia verdad is probably understood. Cf. p. 2, 1. i.
18. — 1. diria = djrc. In the romances the conditional often |
replaces the future, usually to fit the assonance.
;. reludan: in the old ballads the imperfect indicative a
often used to express loosely past time or even present time.
6. E] Albambra: in the language of ^e old ballads el, not
la, is used before a feminine noun with initial a~ or e~, whether
the accent be on the first syllable or not.
25. Tiuda in old Spanish was pronounced v%uda and asso- ■
Dated in i-o. This expletive que is common in Spanish: do 1
not translate.
27. grande merely strengthens bien.
3. — Fonte-frida is a poem of erotic character, much ad- |
mired for its suave melancholy. Probably it is merely g
allegorical fragment of a longer i>oein now lost. It is one 1
those printed in the Cancioitero general of 1511. It was wt
translated by Bowring. There is also a metrical version i
Ticlcnor, I, iii. This theme is found in the Physiologus,
■256 NOTES
medieval bestiary. One of ihese animal sloricE relates that
the Lurlle-dove has but one mate and if this mate dies the
dove remains faithful to its memory. Cf. Mod. Lang. Notes,
June, 1904 (TuHd-Taube), and February, igo6.
3- In avecicas and tortolica the diminutive ending —ica
seems to be quite equivalent to -ito. Cf. Knapp's Span.
Cram., 760U.
4. van tomar — ua» <! tomar.
7. fuera: note that/w^ (or fuera) Spasar = pii,!d. This usajie
is now archaic, although it is still sometimes used by modern
poets: see p. 136, I. 18.
18. bebia: see note, p. 2, 1. 5.
iQ. haber, in the baJlads, of ten = (euer. See also haya in
the following line.
4. — El Conde Anialdos. Lockhatt says of " Count Arnal-
dos," "I should be Indined to suppose that
— that some religious allegory is intended to be sliadowed
forth." Others have thought the same, and the strong mystic
strain in Spanish character may bear out the opinion. In order
that the reader may judge for himself he should have before
him the mysterious song itself, which, omitted in the earliest
version, is thus given in the Coiit
to follow line iS of the poem
de los llanos de Almerfo,
del estrscho de Gibraltar,
y del tpilfu de Venecia,
y <!e loa bancos ie Fhades,
NOTES 257
Popular poems which merely cxlol the power of music over
animals are not uncommon.
J. |Qut€ll hubieEel ■wauU that oite might havel or -would that
I might have! Note jquien me diesel (p. 7, 1. 55), leould that
some one would give met: this is the older meaning of guUn in
these expressions. Note also jQuiin supiera. escribir! (p. 134),
would that I could ■afile! where Ihe modern usage occurs.
us, digusme — dime. This use of the pres. subj. with the
force of an imperative is not uncommon in older Spanish.
24. le fue A dar: see note, p. 3, I. 7.
5. — Let constancia. These lew lines, translated by Lock-
hart as " The Wandering Knight's Song," are only part of a
lost ballad which began:
Sis lines of it have recently been , recovered (Menendez y
Pelayo, Antologla, IX, 211}. It seems to have dealt \vith an
incursion of the French into Spain, and the lines here given
are spoken by the hero Moriscote, when called upon to de-
fend his country. Don Quijote quotes the first two lines of this
ballad. Part I, Cap. II.
S. de me dailar = ife danarme.
13. vos was formerly used in Spanish as usled is now used, —
in formal address.
El amante desdichado. Named by Lockhart "Valladolid."
It is one of the few old romances which have kept alive in
oral tradition till the present day, and are still repeated by
the Spanish peasantry (cf. Antotogia, X, 132, igi).
7. — EI prisionero. Twelve Unes of this poern were prin-
ted in 1511. It seems to be rather troubadouresque than
popular in origin, but it became very well known later.
Lockhart's version is called " The Captive Knight and the
Blackbird."
^
258 NOTES
ifi. This line is too short by one syllable, o
hiatus. See Versification, (4) a.
ig. las mis moaos: in old Spanish the article was often
used before a possessive adjective that preceded its noun.
This usage is now archaic or dialectic.
21. bacia is here exactly equivalent to hace in 1. 33: Bce
note, p. =, 1, 5.
25. quien . . . me diese: see note, p. 4, ]. i.
8.^12. Oldolo habIa=/o AflWo (*iii.
13. This line is too long by one syllable.
14. Gil Vicente (1470?-! 540?), a Portuguese poet who
wrote dramas in both Portuguese and Castilian. A strong
creative artist and thinker, Vicente is the greatest dramatist
of Portugal and one of the great literary figures of the Penin-
stifa. This Canci6n to the Madonna occurs in El autc de la
Sibita Casandra, a religious pastoral drama. Vicente himself
wrote music for the song, which was intended to accompany
a dance. John Bo*ring made a very good metrical transla-
tion of (he song (Ancient Poetry and Romances of Spain, 1824,
p. 315). Another may be found in Ticknor's History of Span-
ish Literature, 1, 259.
16. digas tli: see note, p. 4, I. 22. el mailnero: omit el in
translation. In the Spanish of the ballads the article is reg-
ularly used with a noun in the vocative.
34. pastorcico: see note, p. 3, 1. 3.
9, — Santa Teresa de JesHs (1515-1582), born at Avila;
became a Carmelite nun and devoted her hfe to reforming
her Order and founding convents and monasteries. Saint
Theresa believed herself inspired of God, and her devotional
and mystic writings have a tone of authority. Her chief
works in prose are the Castillo interior and the Camino de
perfccciSn. She is one of the greatest of Spanish mystics, and
her influence is still potent (cf. Juan Valera, Pepita Jintlntz;
Huysmans, En route; el al.), Cf. Bibt. de Aut. Esp., vols. 53
and 55, (or her works. This Lelrilla has been translated by
Longfellow {" Santa Teresa's Book-Mark," Riverside ed., 1886,
VI., 216.)
9. — ^ Fray Luis Ponce de Lefln (1527-1591), born at Bel-
monte; educated at the University of Salamanca; became an
Augustinian monk. While a professor at the same university
he was accused by the Inquisition and imprisoned from 1574
to 1576, while his trial proceeded. He was acquitted, and he
taught till his death, which occurred just after he had been
chosen Vicar-General of his Order. The greatest of the mystic
poets, he wrote as well religious works in prose {Los nambres
de Crista, La perfecla casada), and in verse translated Virgil,
Horace and other classical authors and parts of the Old
Testament. In gentleness of character and in the purity in
which he wrote his native tongue, he resembles the Frenchman
Pascal. His poems are in vol. 37 of the Bib!, de Aut. Esp.
Cf. Ticknor, Period 11, Cap. IX, and IntraducUan, p. nidi.
La vida retirada is written in imitation of Horace's Bealus ille.
9.— 1 7 to 10, — 3. In these lines there is much poetic inversion
of word- order. The logical order would be: Que ('for') eleilado
de los soberbios grandes no le eniurbia el pecko, ni se admira del
dorado lecho, e/ijaspes sustentado, fabricada de! sabio moro.
5. pregonera, as its gender indicates, modifies voz.
12. — 10. In the sixteenth century great fortunes were made
by Spaniards who exploited the mines of their American col-
li. Note this unusual eiy'amftemeiii; hut the wen(e of adverbs
still has largely the force of a separate word.
Soneto: A Crjsto Crucificado. This famous sonnet has
been ascribed to Saint Theresa and to various other writers,
but without sufficient proof. Cf. Fouch6-Delbosc in Revue
Hispanique, II, 120-145; and ibid., VI, 56-57. The poem
was translated by J. Y. Gibson {The Cid Ballads, etc., 1B87,
II, 144), and there is also a version attributed to Dryden.
26o NOTES
13. — Lope Ffilix de Vega (,'arpio (1562-1635) wi
fertile playwright ever knoun to the world. Alone he created
the Spanish drama almost out of nothing. Born at Madrid,
where he spent most of his hfe, Lope was an infant prodigy who
fulfilled the promise of his youth. His first play was written
at the age of thirteen. He fought against the Portuguese in
the expedition of 1583 and took part in the disastrous Armada
of 15S8. His life was marked by unending literary success,
numerous love-aSairs and occasional punishments therefor.
In 1614. he was ordained priest. For the last twenty years of
his life he was the acknowledged dictator of Spanish letters.
Lope's writings include some 2000 plays, of which perhaps
joo are extant, epics, pastorals, parodies, short stories and
minor poems beyond teUing. He undertook to write in every
genre attempted by another and seldom scored a complete
failure. His Obras compldas are being published by the
Spanish .\cademy (1890- ); vol. i contains his life by Barrera.
Most of his non-dramatic poems are in vol. 3S of the Bibl. de
Ant. Exp.; others are in vols. 16 and 35. There is a Life in
English by H. A. Rennerl (1504). Cf. s.]io Inlroduction, p. xxiv.
CaudSn de la. Virgen is a lullaby sung by the Madonna
to her sleeping child in a palm grove. The song occurs in
Lope's pastoral, Lm pailvrei dc Bdin (j6ij). In Ticknor
(H, 17?). there is a metrical translation of the Cattcidn.
The palm has great significance in the Roman Catholic
Church. On Palm Sunday, — the last Sunday of Lent, —
branches of the palm-tree are blessed and are carried in a
solemn procession, in commemoration of the triumphal entry
of Jesus into Jerusalem (cf. John, lii).
14. Ticknor translates these lines as follows:
Holy ariRcls and bleat.
I'hrough these palms as you sweep,
Hold their brancbeE at re5t.
For my babe is asleep.
1
i
NOTES a6i
The literal meaning is; Since you are tuoiiing among the palms,
holy aagets, hold the branches, for my child. sleeps. When the
wind blows through the palm-trees their leaves rustle loudly.
14. — Majlaiia: translated by Longfellow (Riverside ed.,
1886, VI, 204).
15. — Francisco G6mez de Quevcdo y Villegas (1580-1645),
the greatest satirist in Spanish literature, was one of the
very few men of his time who dared criticize the powers that
were. He was born in the province of Santander and was 3
precocious student at Alcalfi. His brilliant mind and his
honesty led him to Sicily and Naple9, as a high official under
the viceroy, and to Venice and elsewhere on private missions;
his plain-speaking tongue and ready sword procured him nu-
merous enemies and therefore banishments. He was con-
fined in a dungeon irom 1659 to 1643 at the instance of
Olivares, at whom some of his sharpest verses were directed.
Quevedo was a statesman and lover of his country driven
into pessimism by the ineptitude which he saw about hint.
He wrote hastily on many subjects and lavished a bitter,
biting wit on all. His best-known works in prose are the pica-
resque novel popularly called Et gran tacaao (1626) and the
SiieSos (1627). His Obras complelas arc in course of publica-
tion at Seville (i8g8- ); his poems are in vol. 6g of the Bibl.
dc Aut. Esp. Cf. E. Mdrimfe, Essai sur la vie et les teuvres de
Francisco de Quevedo (Paris, 1886), and IntroductioH, p. xxv.
P'or a modern portrayal of one side of Qucvedo's character,
Bee BrSton de los Herreros, iQuitn es ella?
EpIstoU satirical this epistle was addressed to Don Caspar
de GuzmSn, Conde-Duque de Olivares (d. 1645), the favorite
and prime minister of Philip IV. It is a remarkably bold
protest, Cor it was published in 1639 when Olivares was at the
hdght of his power. His disgrace did not occur till 164J.
8. Note the double meaning of sentir, — ' to feel ' and ' to
regret.'
262 NOTES
g, libre modifies ingenio. Translate: ils freedom.
t6. Que es lengua la verdad de Dios seveiO'^que la verdad
es lengua dc Dios secero.
IS. — LetrilU Satfrica was published in 1640.
14. Genoa was then, as now, an important seaport and
commercial center. As the Spaniards bought many manu-
factured articles from Genoa, much at their money was
"buried" there.
17. — Esteban Manuel de Villegas (d. 1669) was a lawyer
who wrote poetry only in his extreme youth. His Erolicas S
Amatorias were published in 1617, and he says himself that
they were written at fourteen and polished at twenty. Later
the cares of life prevented him from increasing the poetical
fame that he gained thus early. He had a reputation for
excessive vanity, due partly to the picture of the rising sun
which he placed upon the title-page of his poems with the
motto Me surgetile, quid istat? Isiae referred to Lope, Que-
vedo and others. VQlegas' poems may be found in vol. 42
of the Bi'U. de Aut. Esp. Cf. Menfindez y Pclayo, Hist, de
los helerodoios espaHoles, III, 859-875-
There is a parody of this well-known cantilena by Iglesias
in the Bibl. de Aut. Esp., vol, 61, p. 477.
18. — Pedro Calder6n de la Barca Henao de la Barreda y
Riaflo (1600-1681) was the greatest representative of the sec-
ond generation of playwrights in the Siglo de oro. He took
some part in the nation's foreign wars, but his life was spent
mostly without event at court as the favorite dramatist of
the aristocracy. He became a priest in 1651 and was made
chaplain of honor to Philip IV in 1663. There are extant
over two hundred of his dramatic works, comedias, aulas,
enlrsTneses , etc. Calderfin constructed his plots more care-
fully than Lope and was stronger in exalted lyric and Re-
ligious passages; but he was more mannered, more tainted
with Gongorism and less skilled in creating characters.
A
NOTES 263
His Comedias are contained in vols. 7, 9, la and 14 of the
Bibt. de Aut. Esp.; a few of his auto$ are in vol. 5S, and some
of his poems are in vols. 14 and 3;. Cf. also Poesias inidilas,
Madrid, 1881; Menfindez y Pelayo, Catderdn y su teatro,
Madrid, 1884; R. C. Trench, Catdtron, London, 1880.
The sonnet, Eslas que fuetou . . ., is found in El Principe
eonstanle. II.
88. — Diego Tadeo Gonzdlez (1733-1794) was born at Ciu-
dad-Rodrigo. He entered the order of Augustinians at eight-
een, and mied various important ofHces within the Order
during his life. His duties toolc him to Seville, Salamanca
&nd Madrid, From youth he showed a particular bent for
poetry, and Horace and Luis de LeAn were his admiration.
He was an intimate friend of Jovelianos, who induced him
to forsake light subjects and attempt a didactic poem, Las
tdades, which was left unfinished. Fray Diego's modest and
lovable character and his friendly relations with other men of
letters made him an attractive figure. His poems are in
vol. 61 of the Bibt. de Aul. Esp. Cf. tntroducHoH, p. ssx.
11. Mirta was a lady with whom the author long corres-
ponded and to whom he addressed many poems. Delio
{I. 15) was the name by which Fray Diego Gonzilez was
known among his literary intimates; Jovelianos was called
"Jovino"; MeWndez Vald^s, "Uatilo"; etc.
12. fi la ave: a more usual construction would be at ave,
although the sound would be approximately the same in either
case. See also below in line 24, d la alba,
23. — 4. reludente, modified by an adverb, htit^relu-
ciendo.
6. reclo: a predicate adjective with the force of an adverb.
36, — Nicolis FernJlndez de Moratfn (1737-1780) was born
in Madrid of a noble Asturian family. He studied for the
law and practised it in Madrid, but irregularly, devoting most
kmghls lost their lues at a single Pitsia de Toros in 1511.
The present form of the sport, so much less dangerous for the
man and so much more cruel fur the beast, was adopted ahout
the beginning of the seventeenth century. The constructEon,
in 1749, of the first great Plaza de Toros in Madrid definitely
converted the once chivalrous sport into a. public spectacle,
in which none took part but professional Toreros." The pad-
ded picador of to-day, astride a blinded, worn-out old hack, is
the degenerate successor of the knight of old. In the seven-
teenth century bull-lights in Madrid were sometimes given
in the Plaza Mayor (or Plaza de la ConslUuclin).
6, Aliatnr: this, like most of the names of persons in this
poem, is fictitious; but in form these words are of Arabic
origin, and it is probable that Moratfn borrowed most of
them from the romances morlseos. The names of places, it
should be noticed, are also Arabic, hut the places still retain
these names. See AlimcnSn, and all names of places, in the
Vocab.
28. — ig. Hecho im lazo por oirOn, lied in a knot \to iook\
like a cresl oj plumes. This was doubtless the fori
J
NOTES 265
the modern banderilla (barbed dart ornamented with streamers
of colored paper).
30. — 26-28. Cual . . . nube^cKo/ la ardienle madeja del
sol deja mirarse tat vez enire cenicienia Mlbe.
31. — II. blaaones de Castilla: as at this time (in the reign
of .\ironso V'l) Le6n and Castile were united, the blasoaea
were probably two towers (for Castile) and two lions (for
LeiSn), each one occupying a corner of the shield.
14. Nunca mi espada ventiara apparently means: Never
did he conquer my sword. This may refer to any adversary,
or (o some definite adversary in a previous combat.
26. The best bulls raised for biill-iights come from the
valley of the Guadalquivir.
33, — 22-26. Arf . . . BCerqnen S . . ., Como, may , . . bring
to . . ., just as surely as.
83, — a. Fernando I: see in Vocab.
35.-28. The stanzas of pages 34 and 35 are probably
known to every Spaniard: schoolboys commit them to memory
for puhlic recitation.
36. — 15. i^airedes^digiiareis. Tn modem Spanish the
d (from Lat. I) of the 2d pers. plur. verb endings has fallen.
38. ^ 4. Y . . , despodir = v [11 110 vieran] d Zaida que le
despedla.
13. Crvz: the cross of a sword is the guard which, crossing
the hilt at right angles, gives the sword the shape of a cross.
The cross swords were held in especial veneration by the medi-
eval Christians.
Caspar Melthor de Jovellanos (or Jove-Llanos) (1 744-181 1)
was one of the loftiest characters and most unselfish states-
men ever produced by Spain. Educated for the law, he filled
with distinction important judicial offices in Seville and Ma-
drid. In 1 780 he was made a member of the Council of Orders.
He attached himself to the fortunes of Count CabarrQs. and
when that statesman fell from power in 1790, Jovellanos was
266 NOTES
exiled to his home in Gijfln (Asturia.3). There he devoted
himself tD the betlermcnl of his native province. In 1797
the favorite, Godoy, made hira ministro de gracia y jusiicia;
but he could not be other than an enemy of the corrupt
" Prince of the Peace," and in 1798 he was again sent home.
In 1801 he was seized and imprisoned in Majorca and was
not released till the invasion of Spain hy the French in iSoS.
He refused flattering offers of office under the French, and was
the most active member of the JuTila Central which organized
the Spanish cortes. Unjustly criticized for his labors he re-
tired home, whence he was driven by a sudden incursion of
the French. He died a few days after in an inn at Vega
(Asturias).
Jovellanos' best literary work is really his political prose,
such as the Informe sebre nn proyecto de ley agraria {1787) and
De/ensa de la junta central (iSio). His Delincuente henrado
{'773)i 1 comidie larmoyante after the manner of Diderot'*
Fiis naivrel, had wide success on the stage. His works are
in vols. 46 and 50 of the Bibl. de Aut. Esp. CI. E. MWmfie,
Jovellanos. in the Retue kispanique, I, pp. 34-68.
jQuis tarn patiens ut teneat Be? vrho is so long-su^gering as
to control himself?
21. prisiSa; see mention above of Jovellanos' imprisonment
in Majorca.
39. — 2, It is scarcely accurate to call Juvenal a btifdn,
since he was rather a scornful, austere satirist of indignation.
4S. ^ — 26. Cuinto de is an unusual expression; but if the
line read: ;Ay, cudnta amargnra y cudnto tlaro, it would lack
one syllable.
41. — 4-6. cuesta . . . infanta. Evidently the world has
changed little in a hundred years!
42. — Juan Meltndei Valdes (1754-1817) was born in the
district of Badajoa (Estremadura). He studied law at Sala-
manca, where he was guided in letters by Cadalso. fn 1780
A
NOTES 267
he won a prise offered by the Academy for the best eclogue.
He then accepted a professorship at Salamanca offered him
by Jovcllanos. Literary success led him to petition a posi-
tion under the government which, involving as it did loss of
independence, proved fatal to his character. He filled hon-
orably important judicial posts in Saragossa and Valladolid,
but court intrigue and the caprices of Godoy brought him
many trials and undeserved punishments. In 1S08 he aC'
cepted a position under the French, and nearly lost his life
from popular indignation. Later his vacillations were pitiful:
he wrote spirited poems now for the French and now against
them. .When they were finally expelled in 1813, he left the
country with them and died in poverty and sorrow in Mont-
pellier.
Most of his poems are in vol. 63 of the Sibl. de Aut. Esp.;
others have been published in the Revue hispanique, vols. I.
and IV. Cf. his Life by Quintana in Bibl. de Aut. Esp.,
vol. ig; E. Mfrimfe, MeUndez Valdis, in Revue kispanique,
I, 166-igs; Introduction, p. sxx.
44. — 5. Muy mis: this use of muy is not uncommon in
the older classics, but the usual expression now is mucho mis.
28, benigna: see note, p. 22, 1. 6.
46. — Manuel Jos£ Quintana (1772-1857) was bom in
Madrid. He went to school in Cordova and later studied law
at Salamanca. He lied from Madrid upon the coming of the
French. In the reign of Ferdinand VII he was for a time con-
fined in the Bastile of Pamplona on account of his liberal
ideas. After the liberal triumph of 1S34 he held various public
offices, including that of Director General of Public Instruc-
tion. Tn 185s he was publicly crowned in the Palace of the
See Inlroducliofi, p. xixii; Ticknor, III, 332-334; Blanco
Garcia, La literalura espanota en el siglo XIX, 2d ed., Madrid,
iSgg, I, 1-13; Men£ndez y Pelayo, D. Manuel Josi Quintana,
268 NOTES
La poesia Urica al frindpiar el siglo XIX, Madrid,
E. Pineyro, if.-J. Quiiilana, Chartres, 1892; Juan VaJera,
Florilegio de poesias casleUauas, Madrid, IQ03, V, 32-38. His
works are ia vols. 19 and 67 of Bibl. de Aul. Esp.
The Spanish people, goaded by the subservience of
Charies IV and his prime minislet and favorite, Godoy, to
the French, rose in March, 180S, swept away Godoy, forced
the king to abdicate and placed his son Ferdinand upon the
throne. It was believed that this change of rulers would
check French influence in the Peninsula, but Ferdinand was
forced by Napoleon into a position more servile than that
occupied formerly by Charies.
J. Note the tree word-order in Spanish which permits, as
in this line, the subject to follow the verb, the object to
14. Oceano: note the omission of the accent on r, that the
word may rime with sobecano and vano; but here oceano
still has four syllables.
47. — 2S. tirano del mimdo = Napoleon Bonaparte.
48. — 24. By los coloBos de oprobio y de vergQenza are
probably meant Charles IV and Godoy.
49. — 29. hijo de Jimena: see Jimena and Bernardo del
Carpio, in Vocab.
ftO. — 2. En ... y, xviih a . . . and in.
51. — Dionisio Soils y Villanucva (i;74-t834) was born in
Cordova: he never rose higher in life than to be prompter in
a theater. He fought against the French, and he was esiled
for a time by Ferdinand VH. Soils wrote some plays and
translated many from other languages into Spanish. The
best that can be said of Soils as a poet is that his work
is spontaneous and in parts pleasing. Cf. Blanco Garcia,
I, so and 61-63; Valera, Florilegio, V, 44-46.
S3. — 13-19. ^^'^ - ■ ■ enf ermedad = f ila didce deliciasa
tnjtrmcdad que yo sicnlo.
A
NOTES 269
25. si puede (here meaning if it is passible) is understood
before que trate.
54. —Juan Nicasio Gallego (1777-185^) was born nt Za-
mora. He was ordained a priest : later he went to court, and
was appointed Director of His Majesty's Pages. He fre-
quented the salcm of his friend Quintans, and was elected
deputy from Cadiz. In 1814, during the reign of Ferdi-
nand VII, Gallego was imprisoned for his liberal ideas and
later was banished from Spain. He spent some years in
France and returned to Spain in iSiS. Later he was ap-
pointed Perpetual Secretary of the Spanish Academy.
See Inlroduclion, p. xxxii; Blanco Garcia, I, 13 (.; Valera,
Florilegio, V, 38-44. His poems are in vol. 67 of the BtH. de
Aul. Esp. There is also an edition of his poems by the Acade-
mia de la Lengua, Madrid, 1S54.
El Dos de Mayo: on the second of May, 180S, the Span- j
ish people, unarmed and without strong leaders, rose against 1
Napoleon's veteran troops. Aided by the English, they drove J
out the French after a long and bloody war, thus proving !
to the world that the old Spanish spirit of independent
was still alive. This war is known to the Spaniards as the
Giierra de la inde pendencia and to the English as the Pen*
insular War. The popular uprising began with the seizure of
a powder magazine in Madrid by Velarde and Daoiz {see in
Vocab.). These men and their followers were killed and the
magazine was retaken by the French, but the incident roused
the Spanish people to action.
9. al furor, in Ike glare.
SS. — 4. Mantua: a poetic appellation of Madrid. Cf
article by Prof. Milton A. Buchanan in Romanic Review, 1910
p. 211 f. See also p. xxxiii, Inlroduclion to this volume.
11-12. ^QuienhabrS... qjK caente,ii<ho may Iheri beta tell..
48. —^16 to St. — 3. Note how the poet refers to the van
ous parts, of the Spanish peninsula: Mjos dc Pelayo^thi
^
270 NOTES
Spaniards in general, or perhaps those o( northernmost Spain ;
Moncayo = Aragon, Navarre and Castile; Tuna = Valencia ;
Duero — Old Castile, LeoD and Portugal; and Guadalqtlivir =
Andalusia. See Pelayo and Moncayo and these names o(
5. Patrfin = Santiago, or St. James, the patron saint of
Spain. According to the legend James " the Greater," son of
Zebedee, preached in Spain, and after his death his body was
taken there and buried at Santiago de Campostela. It wjs
believed that he often appeared in the battle-fields fighting
with the Spaniards against the Moslems.
14-15. i . . . brindfi felicidad, drank in jin and blood a
least to her prosperity.
W. — Francisco Martinez de la Rosa (i 787-1862) was bom
at Granada. During the War of Independence he was sent
to England to plead for the support of that country against
the Trench, Later he was ejiiled by Ferdinand VII, and was
for five years a prisoner of state in a Spanish prison on Che
African coast. After his release be became prominent in pol-
itics, and was forced to dee to France. In 1834 he was called
into power by the queen regent, Maria Cristina. He repre-
sented his country at Paris, and later at Rome, and held sev-
eral important posts as cabinet minister.
See Introduction, p. xxxvi; Men£ndez y Pelayo, Esludios de
critics Hleraria, Madrid, 18S4, pp. 123, (.; Blanco Garcia, I,
115-128; Juan Valera, Ftoritegio, V, 56-63. His O.Vaj com-
phlas, 1 vols., ed. Baudry, were published at Paris in 1845.
Several of his articles of hterary criticism are in vols, 5, 7, to
and 6t of the Bibl. de Aut. Esp.
3. ttyeada = riendo.
61. — Angel de Saavedra, Duquede Kivas (1791-1865) was
bom at Cordova. He prepared for a military career. By
son oE his liberal ideas he was compelled to leave Spain
went to England, France and the Island of Malta,
and I
NOTES 271
tuioed to Spain in iSj4 and became a cabinet minister, but
was again forced to flee the country. Later he was welcomed
back and represented Spain at Naples. He retired from poli-
tics and was appointed Director of the Spanish Academy.
See Introduction, p. xxxvi; Blanco Garcia, J, 129-153; Juan
Valera, Florilegio, V, 184-195. His Obras contptetas, in 5 vols.,
were published by the Spanish Academy, Madrid, 1854-1855,
with introductory essays by Pastor Dfaz and Caflete. His
works were also published in the ColecciSn de Escritores cas-
lellanos, i8g4- .
4. De . . . pro = en pro de mi sanp-e y casa.
6!t. — 3. fi la que: translate, before lukich.
TO. duquc de Borbfin is the subject of eEtaba, 1. 3.
18. Emperador^ Charles V.
61. — 8. CoDdestable = Vela5CO, Constable of Spain, who
in 1521 defeated the comuiteros who had rebelled against the
rule of Charles V.
65. — 32. Y con los que, viith whom.
t3. estrecho stands in antithesis to ancho: for his glory the
broad iBorld will be narrow.
66. — 18-19. Y . . . leonesa^y uncolelai la leanesa de reca-
68. — io-!i. Que . . . Tesuelta= que es volunlad suya re-
siiclla (cl) que aloje d Borbdn.
69.— 22. de un su pariente is archaic. The regular ex-
pression to-day would be de un parienle stiyo.
71. — Juan Arolas (1805-1849) was born in Barcelona, but
spent most of his life in Valencia. In 1825, when sixteen
years old, Arolas, much against the wishes of his parents,
joined a monastic order. Arolas wrote in all the literary genres
of his time, but he distinguished himself most as a poet by
his romantic "oriental" and love poems.
Cf. El P. Arolas. su mda y sus versos, Madrid, 1898, by Josfi
R. Lomba y Pedraja; Blanco Garcia, I, 186-189; Juan Valera,
272 NOTES
Florilegio, V, 111-130. A new edition of Arolas' verses was
published at Valencia in iSS,^.
J8. — ^ Josfi dc Espronceda (1808-1842), Spain's greatest
romantic poet, was born in Almendralejo (Badajoz). At the
Colegio de San Mateo Espronceda was considered a precocious
but wayward pupil. His poetic gifts won for him the lasting
friendship of his teacher, A1h«rto Lista. At an early age he
became a member of a radical secret society, Lob Numantinos.
Sent into exile to a monastery in Guadalajara, he there com-
posed the fragmentary heroic poem Pelaya. After his release
he went to Lisbon and then to London Enamored of Teresa
though another's wife, he fled w th her to Pans where he
took an active part in the re olut on of 1830 Fspronceda
returned to Spain in 1833 and engaged n journal sm and
pohtics. Worn out by his tempestuous hfe h died at the
early age of thirty-four years
See Iitiroduction, p. xiivii E Rodriguez SoUs Fspronceda
su tiempB, sw vida y sus obras Madrid 883 Blanco Gacda
I, 154-171; Juan Valera, Flonlegto \ 19 07 Antonio Cor
t6n, fisfroBceda, Madrid, igo6 PhhpH thurchman E pron
ctda's Blanca de Borbdn, Renue htsp iqo; and Svratt and
Espronceda, ibid., 190Q. For Jus poems see Obras poilicas
in the Biblioleca amena i ntslruclrva Barcelona 1S82 Obras
poilicas y escritcs en prosa, colecciin ordenada por D Patricia
de la Escosura, Madrid, 1884.
J». — Jos£ de Zorrilla (rSir-iSgs) was born in Valladolid.
After receiving his secondary education in the Jesuit Semana-
rio de Nobles he began the study of law; but he soon turned
to the more congenial pursuit o( belles-lettres. In 1855 he
went to Mexico where he resided eleven years. Though a most
productive writer, Zorrilla spent most of his life in penury
until, inbisoldage, he received from the government an annual
pension of .30,000 reales. He became a member of the Spanish
Academy in 1885, and four years later he was "crowned"
J
in Granada. Zorrilla died in Madrid in his sevenly-sixtli
year.
See Introduction, p. xxivii; an. autobiography, Recuerdos del
liempo viejo, 3 vols.; Femindez F16rez, D. Josi Zorrilla, i
Autores dramdlicos contempordneos , iSSi, vol. I; Blanco Garda,
I, 197-^16; Juan Valera, FloriUgio, V, 358-;;o. For his works,
see Poeslas, 8 vols., Madrid, 1838-1840; Obras, edition Baudry,
3 vols., Paris, 1852; Poeslas escogidas, published by the Aca-
demia de la lengua, Madrid, 1894; Obras dramdlicas y Itricai,
Madrid, i8gs.
86. — ID. Faiitasnias = como/o»(ajmos.
86. — A Buen Juez Major Testigo, A Geod Judge, Bui a Bet-
ter Witness. In Berceo's Milagros de Nueslra Senora there is
a similar legend of a crucifix summoned as witness.
61. — 4-5. Como . . . baie: this passage is obscure, but
the meaning seems to be, as a pledge thai the river should so
zealously bathe it.
18. lahennosa, according to tradition, was Fjorind a, daugh-
ter of Count Julian. Roderick (Roderico or Rodrigo), the
last king of the Goths in Spain, saw Florinda bathing in the
Tagus, conceived a passion for her and dishonored her. In
revenge Julian is said Co have brought the Saracens into
27. puerta: this may refer to the Puerta Visagra Antigua,
an ancient Arabic gate of the ninth century, now closed.
92. — 12. Las . . . horadaile = a/ koradarle las palmas (of
rey). According to tradition Alfonso, who became afterward
King Alfonso VI of Leon and Castile, when a refugee at
court of A!imen6n, the Moorish king of Toledo, overheard the
Moorish sovereign and his advisers talking about the defences
of the city. The Moors said that the Christians, by a siege,
could probably starve Toledo into submission. Upon per-
ceiving Alfonso near at hand apparently asleep, the Moors,
to prove whether he was really asleep or not, poured molten
374 NOTES
lead into his hand, and he had sufficient will power
motionless while the lead burned a hole through it.
Mariana (Uisioria de BspaHa, Libra IX, Cap. VIII) re-
lates this story, but rejects it and says that the real cause of
Alfonso's nickname ("e/ rsy de la ntano horadada") was his
eitreme generosity.
13. circo romano: to the east of the Hospital de San Juan
Bautisia of Toledo lies the suburb of Covachuelas, the houses
of which conceal the ruins of a Roman amphitheater. '
15. BasOJCa: in the lower Vega, to the northwest of Toledo,
is the hermitage of El Crista de la Vega, formerly known as the
Basilica de Sanla Leocadia, which dated from the fourth cen-
tury. This edifice was the meeting-place of several Church
councils. The ancient building was destroyed by the Moors
and has been repeatedly rebuilt.
M. — 21. el templo: the Ermila del Crista de la Vega. See
preceding note.
27. Viase = teirije; nla, for vela, is not uncommon in poetry.
lOS. — 3-5. Gritan . . . vaJor = /Ds que en el tnercado senden,
gritan en discorde son Id vendido f el valor (— u/ia( Ikey have
Jar sale and its price).
107. — 13-14. y . . . hoilor = )i dispensad que (yo) dudara
de vuestro honor acusado.
108. — 10. See note, p. g2, 1. 15.
113. — 16. cada un aHo^cada ano.
Antonio de Trueba (i8Ji-r88g) was born at Montellano
(Viacaya). At the age of fifteen or sixteen years he removed
to Madrid and engaged in commerce. In i&bi he was ap-
pointed Archivist and Chronicler of the Seiiorlo de Vi/caya,
which post he held for ten years. Trueba, best known as a
writer of short stories, published two volumes of mediocre
verses which achieved considerable popularity during the
author's lifetime, but are now nearly forgotten.
Cf. Nolas aiUobiogrificas in La Iluslracidn Espanola y
31
J
NOTES 275
Americana, Enero 30, 1889; Blanco Garda, II, 26-28 and 301-
308; Juan Valera, Florilegio, V, 307-311. For bis verses, see
El libro de los canlares (1851) and El libra de las monlaAas
(186?).
113. — 14. Cantos: note the double meaning of canto.
114. — Jos6 Sejgas y Carrasto (1821-1881) was born in
Murcia. A writer on the staS of the satirical and humorous
journal, El Padre Cobos, Selgaa won the attention of the public
by his ironical and reactionary articles and was elevated lo
an important political office by Martinez Campos. He is the
author of two volumes of verses, La Primanera (1850) and
El eslio.
See Introduction, p. xxxix; and Blanco Garcia, II, 19-23 and
244-250. For Selgas' verses, see his Faesias, Madrid, 1882-
1883.
117. — Pedro Antonio de AIarc6n (1833-1891) was bom in
Guadin. He studied law, served as a volunteer in an African
war and became a writer on the staff of several revolution-
ary journals. His writings, which at first were sentimental or
radical, became more subdued in tone and more conservat
with his advancing years. In 1877 he was elected to member-
Bhip in the Spanish Aciidemy. Primarily a journalist a
noveUst, Alarc6n published a volume of humorous and descrip- I
live verses, some of which have merit.
Cf. Blanco Garcia, II, 62-63 ^""l 45^-4^7; and articles in
the Nuevo Teatro Crttico (Sept., Oct. and Nov., i8gi). For
his verses, see Poeslas serias y humorislicas , 3d ed., Madrid,
1885.
131. — Gustavo Adolfo Bficquer (1836-18J0) was born in
Seville, and became an orphan in hia tenth year. When eight-
een years of age he went penniless to Madrid, where he earned
a precarious living by writing for journals and by doing
literary hack-work.
See Introdnclion, p. xxxix; Blanco Garcia, 11, 79-86 and J74-
276 NOTES
377. For hia works, see his Obras, 5th ed., Madrid, 1898
(with a Prdlogo by Correa; the Rimas are in vol. III).
122. — 12-13. Del salfia . . . olTida.da = en d ingulo obscuro
del saldn, lal ves ohUada de su dueno. Bficquer, in his striving
after complicated metrical arrangements, often invertE the
word-order in his verse. See also Introdttctioit, V ersificatioH,
ig. airancarlas: las refers to Cu&nta nota, which seems to
have here the force of a plural.
24. See InlToduction, Veni/icalion. p. Ixv.
134. — 14. intgrvalo: the standard form is intervalo.
126. — 12. E! nicho & un ertremo; the meaning is, o«e end
of the recess, in which the coffin will be placed. The graveyards
of Spain and Spanish .America have lofty walls with niches
or recesses large enough to contain coffins. After receiving
the coffin, the niche is sealed with a slab that bears the epitaph
of the deceased.
138. — The Valencian Vicente W. Querol (1836-1889) gave
most of his time to commerce, but he occasionally wrote
verses that had the merit of correctness of language and
strong feeling
Ct. Blanco Garda, II, 376-378, For his verses, see Rimaa
(Prdhgo by Pedro A, de Alarcfin), 1877; La fiesta de Vernts,
in the Almanaque de la Huslracidn, iS;S.
7. (5 en el que=fi en el dta en que: the reference is to the
anniversaries of the wedding day and the saints' days of the
129. — ig. las que . . . son, ui/toJ is . . .
131. — 15-16. la que . . , agonla^'a lenla agonia que sufris-
133. — Ram6n de Campoamor y Campoosorio (1817-1901)
was born in Navia (Asturlas). He studied medicine but soon
turned to poetry and politics. A pronounced conservative,
be won favor with the government and received appointment
4
NOTES 277
Id several important offices including that of governor of
Alicante and Valencia.
Cf. Intraduclicii, p. xli; Juan Va|era, Obras poSlitas de
Campaamor, in Esludios criticos sobre tileratura, Seville, 1884;
Peseux- Richard, in the Revue kispanique, I, 236 (.; Blanco
Garcia, I[, Cap. V. For his works, see Doloras y cantares,
i6th ed., Madrid, 1882; Los pequeAos paemas, Madrid, tSS2~
1883; PefSica, 1&S3; El drama universal, 3d ed,, Madrid, 1873;
Ei licenciado Torralba, Madrid, i838; Obras escogidas, Leipzig,
1885-1886; Ohras complelas, S vols,, Madrid, 1901-03.
135. ^3. se va y se viene y se est&: note the use of se in
the sense of people, or an indefinite we.
5. Y . . . procuracy sr lu afeclo no procura voher.
13«. — 18. See note, p, 3. 1. 7.
137. — Vallidolid was the birthplace of Caspar NHftez de
Arce {1834-1Q03). When a child, he removed with his family
to Toledo. At the age of nineteen years he entered upon a.
journalistic career in Madrid. As a member of the Progresista
party, Nfiaez de Arce was appointed Civil Governor of Bar-
celona, and afterward he became a cabinet minister.
Cf. Introduction, p. xhi; Menfndez y Pelayo's essay in
Estudios de critica literaria, 1S84; Juaa Valera's essay on the
GrUos del combale, Revisla europea, 1875, no. 60; Blanco
Garcia, Cap. XVIII; Jos6 del Castillo, N6Ses de Arce,
Apunles para su hiografia, Madrid. 1904.. For his works, see
Griios del covibaie, Sth ed., iSgi; Obras dramdticas, Madrid,
1879. Most of his longer poems are in separate pamphlets,
published by M, Murillo and Fernando Fe, Madrid, 1895-
1904-
13J. — Tristezas shows unmistakably the influence of the
French poet .-\ltred de Mussel, and especially perhaps of his
Railil and Confession d'uH enfant du siicle.
138. — 16 f. Compare with the author's La diida and Mise-
rere, and Bficquer's La ajorca de oro.
i
278 NOTES
142. — 1-3. The poet seems to compare the nineteenth cen-
tury, amidst the Samea of furnaces and engines, to the fallen
archangel in hell.
id. mfstica, thai is, of communion with God, heavenly.
144. — jSursum Corda!; the lines given are merely the in-
troduction to the poem, and form about one fourth of the
entire work. They were written soon after the Spanish-
American War, See Sursum Corda.', Madrid, 1904; and
also Juan Valera's Fiorilegio, IV, 413 f.
8. The plains of Old Castile may well be called "austere."
14fi. — 10-16. Cf. A Espana (1866) and A Casldar (1B73).
147. — 11-19. There are few stronger lines than these in all
Spanish poetry.
148. — Manuel del Palacio (1832-181)5) was born in LSrida.
His parents removed to Granada, and there he joined a club
of young men known as La Cuerda. Going to Madrid, he
devoted himself to journalism and politics, first as a radical
and later as a conservative.
Cf. Blanco Garda, II, 40. For his works, see his Obras,
Madrid, 18S4; Vetadas de olono, iSS4,HuelgasdiptomiSlitas, 1887.
5. el ave placentera: a well-known Spanish-American poet
calls this a mere ripio (stop-gap), and says it may mean one
bird as well as another.
The Catalan Joaqufn Mada Bartrina (born at Reus in
1S50) published in 1876 a volume of pessimistic and icono-
clastic verses, entitled Algo. After his death (1880) his
works were published under the title of Obras en prosa y versa,
escogidas y coleccionadas par J. Sardd, Barcelona, 1881. Cf.
Blanco Garcia, II, 349-350.
148. — 15-19. These lines give expression to the pessimism
that has obtained in Spain for two centuries past.
149. — 14. The reference is, of course, to the paintings, of
which there are many, of "The Last Supper" of Jesus.
Manuel Reina (i860- ) was born in I'uente Genii. Like
A
NOTES 279
Ga.rtritia, Reina is an imitator of Ndfiez de Arce, in that he
sings of the degeneracy of mankind. He undertook, with but
little success, to revive the eleven -syllable romance of the
neo-elassic Spanish tragedy of the eighteenth century,
Cf. Blanco Garda, II, 354-355- For iiis verses, see Andantes
y allegros and Cromos y acuarelas, cantos de nueslra fpoca, con
un prilogo de D. Josl Ferndndez Brtmin.
The Valencian Teodoro Llorente (h. 1836) is best known for
his translations of the works of modern poets. He is also the
author of verses {Amorosas, Versos de la jieoenlud, el ai,).
161. — Argentiaa. The development of letters was slower
in Argentina than in Mexico, Peru and Colombia, since Argen-
tina was colonized and settled later than the others. During
the colonial period there was little literary production in the
territory now known as Argentina. Only one work of this
period deserves mention. This is Argentina y conquisia del
rlo de la Plata, etc. (Lisbon, 1602), by Martin del Barco Cen-
tenera, a long work in poor verses and of little historical
value. During the first decade ol the nineteenth century
there was an outpouring of lyric verses in celebration of the
defeat of the English by the Spaniards at Buenos Ajres, but
to all of these Qallego's ode A la defensa de Buenos Aires is
infinitely superior.
During the revolutionary period the best-known writers,
all of whom may be roughly classiQed as neo-classicists, were:
Vicente L6pez Planes (i;84-i8s6), author of the Argentine
national hymn; Esteban Luca (17B6-1824); Juan C. Lafinur
(17Q7-1824); Juan Antonio Miralla (d. 1825); and, lastly, the
most eminent poet of this period, Juan Cruz Varela (i7g4-
1839), author of the dramas Dida and Argia, and of the ode
Triunfo de Ituzaingi {Poeslas, Buenos Aires, 1879).
The first Argentine poet of marked abihty, and one of the
greatest that his country has produced, was the romanticist
(who introduced romanticism into Argentina directly from
aSo NOTES
France), Esteban Echeverrfa (i8os-'85i), author of Los C»n-
suelos (1834), Rimas (1837) and La cautiva. The latter poem
ia distinctively "American," as it is full of local color. Jua
Valera, in his letter to Rafael Obligado (Cartas ai
serie), says truly that Echeverrfa " marks the point of depar-
ture of the Argentine national literature." {Obrm complelas,
5 vols., Buenos Mtcs, 1870-74).
Other poets of the early period of independence are: the
literary critic, Juan Maria Gutierrez (1809-1878), one-time
rector of ihe University of Buenos Aires and editor of an
anthology, America pofiica (Valparaiso, 1S46); Dr. Claudio
Mamerto Cuenca (1812-1866; cf. Obras poiticas escagidas, -
Paris, 1889); and Josfi Mfirmol (181S-1871), author of El
Peregrine and of the best of Argentine novels, Amatia (fibras
poilicas y dramdlicas, cohccionadas par Josf Domingo Corlis,
3d ed., Paris, 1905).
In parenthesis be it said that Argentina also claims as her
own the poet Ventura de la Vega (1807-1865), who was born
in Buenos Aires, as Mexico claims Juan Ruiz de Alarefin, and
as Gertrudis G6mez de Avellaneda is claimed by Cuba.
As in Spain Ferdinand VII had driven into exile most of
the prominent writers of his period, so the despotic president,
Juan Manuel Rosas (1793-1877: fell from power in 1851),
drove from Argentina many men of letters, including Varela,
Echeverrfa and MSrmol.
Down to the middle of the nineteenth century it may be
said Ihat the Spanish-American writers followed closely the
literary movements of the mother country. Everywhere
across the sea there were imitators of Melfndez Valdfe and
Cienfuegos, of Quintana, of Espronteda and Zorrilla. During
the early years of romanticism some Spanish- American poets,
— notably the Argentine Echeverrfa, — turned for inspira-
tion directly to the French writers of the period; hut. In the
main, the Spanish infiuencc was predominant. The Spanish-
J
NOTES
American verses, for the most part, showed insuiEcient prep-
aration and were marred by many inaccuracies of diction;
but here and there a group of writers appeared, — as in Co-
lombia, — who rivaled in artistic excellence the poets of Spain.
Id tbe second half of the nineteenth century tbe Spanish-
American writers became more independent in thought and
speech. It is true that many imitated the mysticism of
flfcquer or the pessimism of Nunez de Arce, but many more
turned for inspiration to native sujects or to the literary works
of other lands than Spain, and particularly of France and
Italy.
The estreme in local color was reached in the "lileralura
gauchesca," which consists of collections of popular or semi-
popular ballads in the dialect of the gauchos, or cowboys
and " ranchers," of the Pampas. The best of these collections,
— ■ Martin Fierro {1872), by Jos^ FernSndez, — is more artistic
than popular. This long poem, which in its language reminds
the English reader of Lowell's Blglow Papers, is the best-
known and the most widely read work by an Argentine
author.
The greatest Argentine poets of the second half of the cen-
tury have been Andrade and Obligado. Olegario Vfctor An-
drade (1838-1882). the author of Prometeo and AlUnlida. is
generally recognized as one of the foremost modern poets of
Spanish America, and probably the greatest poet that Argen-
tina has as yet given to the world. In art, Andrade was a
disciple of Victor Hugo; in philosophy, he was a believer in
modern progress and freedom of thought; but above all else
was his loyal patriotism to Argentina. Andrade's verses have
inspiration and enthusiasm, but they are too didactic and they
are marred by occasional incorrectness of speech. AtlSnlida,
a hymn to the future of tbe Latin race in America, is the poet's
last and noblest work {Obras, Buenos Aires, 1887).
It is said of Rafael Obligado (1852- ) that he is more
282 NOTES
elegant and correct than Andrade, but his muse has less ii
spiration. He has, moreover, the distinction of showing almost
no French influence, which is rare to-day among Spanish-
American writers. Juan Valera regrets Ohligado's excessive
Americanism," and laments the fact that the poet uses many
words of local origin that he, Vafera, does not understand.
The poet's better works are, for the most part, descriptions of
the beauties of nature or the legendary tales of his native
land {Poesias, Buenos Aires, 1885).
Among recent poets, two have especially distinguished
themselves. Leopoldo Diaz (1868- ) began as a disciple
of Heredia, and has become a pronounced Hellenist, now a
rare phenomenon in Spanish America. Besides many sonnets
imbued with classicism, he has written odes to the conquista-
dares and to AtlSittida canguistada. Like Darlo, Blanco-
Fombona and many other Spanish-American poets of to-day,
Diaz resides in Europe; but, unlike the others, he lives in
Morges instead of Paris (Soitetos, Buenos Aires, 18S8; Bajo-
relieves, Buenos Aires, i8g5; et al.). A complete " modernista"
(he would probably scorn the title of "decadent") is Leo-
poldo Lugonea {1875?- ), whose eariier verses are steeped in
an erotic sensualism rare in the works of Spanish -American
poets. He seeks to be original and writes verses on every con-
ceivable theme and in all kinds of metrical arrangements.
Thus, in Lunario sentimental there are verses, essays and
dramatic sketches, ail addressed to the moon. For an exam-
ple of his versos libres. see Inlroduclion to this volume, p. xlvi
(Las tnonlafias de oro, Los crepAscutos del jardln; Lunario
sentimental, Buenos Aires, igog; Odas seculares, Buenos Aires,
19.0).
For studies of Argentine literature, see Blanco Gurcia,
Hisl. Lit. Esp., HI, pp. 380 f.; Mengndez y Pelayo, Anl.
Poetas Hisp.-Am.. IV, pp. Ixxsix t.; Juan Valera, Poesta
argeiilina, in Cartas americanas, 1' serie, Madrid, 1889, pp. 51-
NOTES 283
iig; Lileralura argettfina, Buenos Aires, 1903; Poelas argen-
linos, Buenos iVires, 1904; Anlelegla argeitlina, B. T. Mar-
tinez, Buenos Aires, 1890-91; Compendia de lileralura
argetiliaa, E. Alonso Criada, Buenos Aires, 1908; Misceldtiea,
by Santiago Estrada; La lira ofgentina, Buenos Aires, 1834.
Other important works, treating of Spanish -American liter-
ature, are; Biblioteca hispttno-americatta (1493-1810), Joafi
Toribio Medina, 6 vols., Santiago de Chile, 1898-1902;
Bibliography of Spanish-American Literature, Alfred Coester,
Romanic Review, III, 1; Escrilores hispana-americanas, Manuel
Caflete, Madrid, 1884; Escrilores y poelas sud-americanos,
Francisco Sosa, Mei., 1890; Juicio critico de poelas ktspano-
americanos, M. L. Amunitegui, Santiago de Chile, 1861; La
joven lileralura hispano-americana, Manuel Ugarte, Paris,
Echeverrta: see preceding note.
Candfin do Elvira. This Gutierrez calls the "song of the
American Ophelia."
153. — Andrade: see note to p. 151.
iS. A celebrar las bodas, lo be Ike bride,
153. — 3. The Argentines, especially, seem to take delight
in calling themselves a Latin, rather than a Spanish, race.
This may he due to the fact that fully one third of the papu-
lation of Argentine is Italian. Both Juan Valera and
Menfndez y Pelayo have chided the Argentines for speaking
of themselves as a raea latino-americana, instead of kispano-
15. arcano, secrel, seems to have the force here of a secret
ark, or secrel sancluary, which b broken open that its secrets
may be disclosed.
154. — 6-10. These lines refer, of course, to the Christian
religion, spoken of symbolically as an allar, which has replaced
the heterogeneous pagan cults of ancient Rome, and which
the Spaniards first brought to .America.
984 NOTES
II. ciclopeas: note Ihc omission of the accent on o tliat
the word may rime with ideas.
153. — s. Tequendama; see in the Vpcab. Severa! Colom-
bian poets, including Don Jos£ Joaqu[n Ortiz and Doila. Agri>
pina Monies del Valle, have written odes to this famous
waterfall. See Menfindes y Pelayo, AnI. Poetas Hisp.-Am.,
II; and Parnaso colombiano, II, EogotS, 1887.
17-18. A revolutionary hero, Antonio Ricaurte (b. 1786),
blew up the Spanish powder magazine on the summit of a
hill near San Mateo, and lost his life in the explosion. See
Mateo in Vocab.
1S6. — $, The colors of the Peruvian flag are red and white,
mainly red. The red, — symbolical of bloodshed, — shall
be largely replaced by the golden color of ripening grain, —
symbolical of industry.
8. Caracas, where Bolivar was born, lies at the foot of
Mount Avik.
II. This line, and line 16, would indicate that Atlfintida was
written soon after the war, begun in 1S76, between Chile and
the allied forces of Bolivia and Peru, in which Chile was
12-15. When this was written there was little immediate
prospect of other railways than the narrow-gage road from
Oruro to the Chilean frontier, about five hundred miles in
length; but now Bolivia has the promise of becoming the
railway center of lines connecting both Argentina and Chile
with Peru. These lines are now completed or building.
27. Andrade died in 1882, and seven years after his death,
in i8Sg, the emperor Dom Pedro II was deposed, and a repub-
lican form of government was adopted by Brazil.
167. — 3. .\ndrade now sings of his own country, hence
jDe pie para contarlal
8. There is a larger immigration of Europeans into Argen-
tina than into any other South- American country. The
NOTES 28s
ne mostly from northern Italy and from
12-16. As the AtUndda was the last poetic work of Andrade,
these lines may refer to the treaty of 1881 between Argentina
and Chile, by which Argentina acquired all the territory east
of the Andes, including Patagonia and the eastern part of
Tierra del Fuego.
By the conquest and settlement of the broad plains (f am-
pas) and the frozen region of the south, a new world was
created, much as in the United States of America a new world
was created by the acquirement and settlement of the western
plains, mountain lands and Pacific coast.
2r. Vast areas in Argentina are given over to the cultiva-
tion of wheat, barley and oats.
159. — These are the last stanzas of Prometeo, a poem in
which the author addresses the human mind and urges it to
break its bonds and free itself from tyranny and prejudice:
see also iti Vocah.
160. — Obligado: see note to p. 151.
163. — Colombia. Colombia was formerly known as Nueva
Granada, and its inhabitants are still sometimes called Grana-
dinos. An older and larger Colombia was organized in 1819,
toward the close of the revolutionary war; but this state was
later divided into three independent countries, viz., Venezuela,
Nueva Granada and Ecuador. In i86i Nueva Granada as-
sumed the name of Estados Unidos de Columbia, and only
recently the Colombian part of the Isthmus of Pananvi
Established itself as an independent republic. The present
Colombia has, therefore, only about one third the area of the
older state of the same name. In treating of literature, the
terms Colombia and Colombian are restricted to the present-
day Colombia and the older Nueva Granada. The capital
of the Republic is Santa Fe de BogotS, to-day generally
known simply as Bogota. It ia at an elevation of 8700 feet
above the level of the sea, and has a cool and equablf
climate.
It is generally conceded that the hlerary production of
Colombia has excelled that of any other SpaniEh-American
country. Mentndea y Pelayo (Aiil. Poetaz Hhp.-Am., Ill,
Inlrod.) speaks of Bogoti as the " Athens of South America,"
and says further: " the Colombian Parnassus to-day excels in
quality, if not in quantity, that of any other region of the New
World." And Juan Valera in his Cartas americanas (i" saie.
p, :2i f.) says; "Of all the people of South America the Bogo-
tanos are the most devoted to letters, sciences and arts"; and
again: "In spite of the extraordinary ease with which verses
are made in Colombia, and although Colombia is a democratic
republic, her poetry is aristocratic, cultivated and ornate."
Blanco Garcia characterizes Colombia as one of the most
Spanish of American countries.
During the colonial period, however, Nueva Granada pro-
duced few literary works. Gohzalo Jimenez de Qucsada, the
conquistador of New Granada, wrote memoirs, entitled Ralos
de Saesca (1573?), of little historical value. The most im-
portant work of the period is the chronicles in verse of Juan de
Castellanos (b. 1522? in the Spanish province of Seville). This
work is largely epic in character; and, with its 150,000 lines,
it is the longest poem in the Spanish language. Though for
the most part prosaic and inexact, yet it has some passages of
high poetic worth, and it throws much light on the lives of the
early colonists. The first three parts of the poem, under the
title of Eleglas de narones iluslres de Indias (the first part only
was published in igSg), occupies ail of vol. IV of the Sibl. dr.
Aut. Esp. The fourth part is contained in two volumes of the
Colecci6n de Escrilores Castellanos, under the title of Hisloria
del Nnevo Reino de Granada.
In the seventeenth century the colonists
with the conquest and settlement of the country to spare
NOTES 287
for the cultivation of letters. A iong epic poem, the PiKma
ktrcko de San Igrtocio de Loyola, with much Gongorism and
little merit, was published at Madrid in i6g6, after the death
of the author, the Colombian Hernando DomSnguez Camargo.
A few short lyrics by the same author also appeared in the
Ramilklc de tarias fiores poilicas (Madrid, 1676) of Jacinto
Evia of Ecuador.
Early in the eighteenth century Sor Ftancisca Josefa de la
Concepci6n, " Madre Castillo" {d. 1743), wrote an account of
her life and her SentimUidos espiriluales, in which there is
much of the mysticism of Saint Theresa.
About 1738 the printing-press was brought to BogotS by
the Jesuits, and after this date there was an important intel-
lectual awakening. Many colleges and universities had al-
ready been founded, — the first in 1554. The distinguished
Spanish botanist Jos£ Celestino Mutis, in 1762, took the chair
of mathematics and astronomy in the Colegto del Rosario,
and under him were trained many scientists, including Fran-
cisco Jos£ de Caldas. An astronomical obser\'atory was es-
tablished, the first in America, fn 1777 a public library was
organized, and a theater in 1794. And of great influence tvas
the visit of Humboldt in 1801. Among the works published
in the second half of the eighteenth century mention should
be made of the Lamentacioaes de Fubln by the canon Josf
Marfa Grueso (177Q-1835) and El placer piiblko de Santa
Fe (Bogoll, 1804) by Jost Maria Salazar (i78s-i8;8).
During the revolutionary period two poets stand preemi-
nent. Dr. Jos£ FernSndez Madrid (d. 1830) was a physician
and statesman, and for a short time president ol the Republic.
His lyrics are largely the expression of admiration for Bolivar
and of hatred toward Spain: his verses are usually sonorous
and correct (Poeilos, Havana, [S32; London, 1828), The
" Chfinier" of Colombia was Luis Vargas Tejada (iSoi-iSig),
the author of patriotic verses, some of which were directed
3iS0 NOTES
against Bolivar, and of neo-dassic tragedies. He died by
drowning at the age of twenty-seven (Pocsias, Bogota, 1855).
The four moat noted poets of Colombia are J. E. Caro,
Arboleda, Ortiz and Gutilrrez Gonidle^. A forceful lytic
poet was Josfi Eusebio Caro (181 7-1853), a philosopher and
statesman, a man of moral greatness and a devout Christian.
In the bloody political struggles of his day he sacrificed his
estate and his life to his conception of right. He sang of God,
love, liberty and nature with exaltation; but all bis writings
- evince long meditation. Like many Spanish- American poets of
his day Caro was influenced by Byron. In his earlier verses
he had imitated the style of Quintana (cf. El ciprfs); but later,
under the influence of romantic poets, be attempted to intro-
duce into Spanish prosody new metrical forms. Probably as
a result of reading English poetry, he wrote verses of 8 and
It syllables with regular alternation of stressed and unstressed
syllables, which is rare in Spanish. So fond did he become of
lines with regular binary movement throughout that he re-
cast several of his earlier verses {Obras escogidas , EogotS, 1873;
Foesias, Madrid, 1885).
Julio Arboleda (1817-1861). " Don Julio," was one of the
most polished and inspired poets of Colombia. He was an
intimate friend of Caro and like him a journalist and poli-
tician. He was a good representative of the chivalrous and
aristocratic type of Colombian writers of the first half of the
nineteenth century. His best work is the narrative poem
Comaio de Oy6n which, though incomplete, is the noblest epic
poem that a native Spanish- American poet has yet given to
the world. After studying in Europe he engaged in joumal-
iam and politics. He took part in several civil wars. A can-
didate for the presidency of the Republic, he was assassinated
before election {Paeslas, colecciiii formada sobrr las tnnnitscritas
originates, con prdlogo par M. A. Caro, New Vork, 1883).
The educator and journalist Joa€ Joaquin Ortiz (1814-
NOTES 289
iSt)2) imitated Quintana in form but not in Ideas. Though
a defender of neo-dassicism, lie did not entirely reject ro-
majiticism. Ortiz was an ultra-catholic, sincere and ascetic
His verses arc impetuous and grandiloquent, but often lack'
ing depth of thought {Pociias, Bogoti, iSSo).
The poet Gregorio Guti6rrea Gonzdiez, "Antioco" (1820-
1872), was a jurist and politician. He began as an imitator of
Espronceda and Zorrilla and is the author of several senti-
mental poems (A Julia, iPor qui no caitlo? Una Idgrima, el
al.) that are the delight of Colombian young ladies. His fame
will doubtless depend on the rustic Georgic poem, Memoria
sobre el culliva del malz en Aiiiioquia. This work is an in-
teresting and remarkably poetic description of the homely life
and labors of the Antioquian country folk [Poeslas, Bogoti,
iSSi; Paris, 1908).
The minor poets of this generation are legion. Among
these are: Manue! Maria Madiedo (b. 1815), a sociologist;
Germdn Gutifirrez de Pineres (1816-1872), author of melan-
choly verses; Josd Marfa Rojas Garrido (1824-1883), a noted
orator, one-time president of Colombia; Joaquin Pablo Posada
(1825-1880), perhaps the most clever versifier of Spanish
America, but whose dlcimas were mostly written in quest of
money; Ricardo Carrasquilla (b. 1827), an educator and
author of genial verses; Jos^ Manuel Marroqutn (b. 1827), a
poet and author of articles on customs and a foremost humor-
ist of South America (he was president when Colombia lost
Panama); ]as6 Maria Samper (b. 1S28), a most voluminous
writer; Rafael Nfiflez (1825-1897), a philosopher and skeptic,
and one-time president of the Republic; SanliaRo Pfirez {1830-
igoo), educator, journalist and one-time president; JosS Maria
Vergara y Vergara (1831-1872), a Catholic poet and author of
a volume of sentimental verses (Libre de las ciinlares); Rafael
Pombo (1833-1912), an eminent classical scholar and literary
critic, and "perpetual secretary" of the Colombian Academy;
n
290 NOTES
Diego Falldn (b. 1S34), son o( an English father, and author
of several highly hnished and beautiful poems; Pini6n Kico
(b. 1834), author of popular, romantic aonga; Wsar Conlo (b.
1836), a jurist and educator; Jorge Isaacs (1837-1S95), better
known as author of the novel Maria; and Felipe P6rez (b.
In the second half of the nineteenth century, the most
eminent man of letters in Colombia has been Miguel Antonio
Caro (1843-1909), a son of J, E. Caro. A neo-Catholic and
"traditionalist," a learned literary critic and a poet, the
younger Caro, like Bello before him and like his distinguished
contemporary Rufino Jos^ Cuervo, has worked for purity of
diction and classical ideals In literature. Caro is also the
translator of several classic works, including one of Virgil
which is recognised as the best in Spanish.
Other poets of the closing years of the century are; Di6genes
Arrieta {b. 1848), a journalist and educator; Ignacio Guti6rrez
Ponce (i8so), a physician; Antonio G6mez Restrepo {b. 1856),
a lawyer and politician; Jos£ Marta Garavito A. (b. 1S60);
Jos£ Rivas Groot (b. 18G4), an educator and literary critic,
and editor of La lira nufva; Joaqufn Gonzilez Camargo
(b. 1865), a physician; Agripina Montes del Valle (b. about
the middle of the nineteenth century) noted for her ode to
the Tequendama waterfall, and Justo Pastor Rfos {i8;o- ),
a philosophic poet and liberal journalist.
The "modernista" poet Jos£ Aaunci6n Silva (1860-1896)
was a sweet singer, but he brought no message. He was fond
of odd forms, such as lines of 8+8, 8 + 8+8 and S + 8 + 4 syl-
lables (Poesfas, con Prdlogo de Miguel dc Vnamuno, Barcelona,
1908).
References: Cf.: Men^ndez y Pelayo, AnI. Poelas Hisp.-Amer., Ill,
p. 1 f.; Blanco Garda, III, 331 f.; Juan Valera, Carlos Am., /" serit,
p. 151 (,; Bistoria de la lUeratura (1538-1810) ™ Nucca Granada, Jo^
Marta Vergaiay Vergara, fioeoti, 1S671 AptuOa sobte Ubliegrnfia celam'
NOTES
2QI
Hana, can mueslras acogidas rn piosa y terio, Ifddoro Laveide Amaya,
BogotS, 1882; ParnoiO cohmtnajio. J. M. Vecgara y Vergara, 3 vols,;
La lira granaduKS, J. M. Vergara y Vergara, BogotS, 186s; Pamaso
colambiano. Julio Aflez, con Prdlogo de Jost Rivas Crool. a vols,, Bogoti,
1886-87; La lira nurca, J. M, Rivas Groot, Bogoti, 1886; Antologta
colonliiana, Erailiano I^aza, Paris, 1895.
Ortiz: see preceding nofe,
Colombia j EepaOa: In this poem, dated July 2a, 1SS2,
the poet begins by recalling the war of independence that
he witnessed as a boy and the heroic figure of Bolivar; then
he laments the fratricidal struggles that rent the older and
larger Colombia; and, finally, in the verses that are here
given, he rejoices over the friendly treaty just made by the
mother country, Spain, and Colombia, her daughter.
8. The colors of the Colombian flag are yellow, blue and
red.
g. The colors of the Spanish flag are red and yelli
the Spanish arms two castles {for Castilh) and two li
Lein) are pictured.
164. — j. E, Caco: see note top, 162,
I6J. — Marroquin: see note to p. t63.
Los cazadores y la perrilla: compai
"Elegy on the Death of a Mad Dog."
168.— 7. Moxatin; see note to p, 26.
On
ith Goldsmith's
L Bibl.
de AtU. E^p.. 11, 4g f,
169. ^ 16, describilla, ar
171. — M. A. Caro: seen
174. — i4-r6. sombrfa .
dad) sombrla y elema, ni el odio n
olcanzardn nada en sits abismos.
179. — Cuba. Although the literary output of Cuba is
greater than that of some other Spanish- American countries,
yet during the 1 olonial period there was in Cuba a dearth of
both prose and verse. The Coleyio Semanario de San Carlos
■r poetic for dfseribirla.
. eicaj>ZK&n = {sien4o la Elerni-
H( la je ni la duda.
292
y San Ambrosio was founded in 1689 as a theological seminary
and was reorganized with lay instruction in 1765. Tlie Uni-
versity of Havana was established by a papal bull in 1721
and receiied royal sanction in 172S; but for many years it
gave instruction only in theological subjects. The first book
printed in Cuba dates from 1720. Not till the second half of
the eighteenth century did poets of merit appear in the island.
Manuel de Zequeira y Arango (1760-1846) wrote chiefly
heroic odes (Poeslas, N. Y,, tSzg; Havana, 1852). Inferior to
Zequeira was Manuel Justo de Rubaloava (176(1-1805), the
author of bucolic poems and sonnets {Poeslas, Santiago de
Cuba, 1848).
The Cuban poet Don Josfi Maria Heredia (1803-183(1) is
better known in Europe and in the United States than Bello
and Olmedo, since his poems are universal in their appeal.
He is especially well known in the United States, where he
lived in exile for over two years (1833-1825), at first in Boston
and latet in New York, and wrote his famous ode to Nia-
gara. Born in Cuba, he studied in Santo Domingo and in
Caracas (1812-1817), as well as in his native island. Accused
of conspiracy against the Spanish government, he fled to the
United States in 1823, and there eked out a precarious exis-
tence by giving private lessons. In 1825 he went to Mexico,
where he was well received and where he held several im-
portant posts, including those i)( member of Congress and
judge of the superior court. In Heredia 's biography two facta
should be stressed: that he studied for five years in Caracas,
the city that produced Bolivar and Bello, respectively the
greatest general and the greatest scholar of Spanish America;
and that he spent only twelve years, all told, in Cuba. Aa
he lived ior fourteen years in Mexico, that country also claims
him as her own, while Caracas points to him with pride as
another child of her older educational system.
Heredia was most unhappy in the United States. He od-
NOTES 293
mired the political institutions of this countryjbut he disliked
the climate of New York, and he despaired of learning English.
Unlike Bello and Olmedo he was not a classical scholar. His
acquaintance with the Latin poets was limited, and seldom
does a Virgilian or Horatian expression occur in his verses.
Kather did he stand for the manner of Chateaubriand in
France and Cienfuegos in Spain. Though strictly speaking
not a romantic poet, he was a close precursor of that move-
ment. His language is not seldom incorrect or lacking in
sobriety and restraint; hut his numbers are musical and his
thought springs directly from imaginative exaltation.
Heredia's poorest verses are doubtless his early love-songa:
his best are those in which the contemplation of nature leads
the poet to meditation on human existence, as in Nidgara, El
Teoeath de Cholula En una lempfslad and 4/ sol In these
poems the predominant note is that of gentle melancholy In
Cuba his best known \erses are the two patnotic hymns
i Emtha i.ni El himno del dislcrrado These were written
before the poet wis disillusioned by his later experiemes in
the turbulent Mexico of the second ind third decades 0/ the
nineteenth century and they are so ".irulent in their expres-
sion of haired of Spain that Menfindez y Pelayo refused to
include them in his Anthologv Heredia undertooL to write
several plavs but without success Some translations of
dramatic works however were well received and especially
those of Ducts ibufar Chfnier s Tibere Jouv s Stia \ol
taire s Mahomet and Mhen s iuw/ The Garnier edition
(Pans iSgj) of Heredii s Poeilits contains an interesting
introduction by the cntic Etfas Zerolo (Poisias N Y iSaSi
Toluca i8}2 N \ 187s Pans 1893)
The mulatto poet Cabricl de la Conrepcjfin \ ald£s bet
ter known by his pen-name "PIScido" {1809-1844), an
uncultivated comb-maker, wrote verses which were mostly
commonplace and often incorrect; but some evince remark-
r
294 NOTES
able sublimily aod dignity (cf. Plrgaria d Dies). Cf. Poesiat,
Matanzas, iSjS; Matanzas, 1842; Veracruz, 1S45; Paris, 1S57;
Havana, i386. The greatest Cuban poetess, and perhaps
the most eminent poetess who has writ ten in the Castilian
language, is Gertrudis G^mcz de Avellaneda y Arteaga (1814-
1S73). Siace Avellaneda spent most of her life in Spain, an
account of her life and work is given in the Inlroduction to
this volume, p. xixviii. Next only to Heredia, the most popular
Cuban poet is Jose Jacinto Milan^s y Fuentes (1814-1863),
who gave in simple verse vivid descriptions of local landscapes
and customs. A resigned and touching sadness characterizes
his best verse {Obrai, 4 vols., Havana, 1846; N. V., 1865).
A lawyer, educator and patriot, Rafael Maria Mendive y
Daumy (i8ii-i886) wrote musical verse in which there is
spontaneity and true poetic feeling {Pasionarias, Havana,
1847; Poesias, Madrid, i860; Havana, 1883), Joaquin Lorenzo
Luaces (1826-186;) was more learned than most Cuban poets
and fond of philosophizing. Some of his verse has force and
gives evidence of careful study; but much is loo pedantic to
be popular {Poeslas, Havana, 1B57). A poet of sorrow, Juan
Clemente Zenea, — "Adolfo de la Azucena" (1832-1871), —
wrote verses that are marked by tender melancholy [Poesias,
Havana, 1855; N. V., 1872, 1874)-
Heredia was not the only Cuban poet to suffer persecution.
Of the seven leading Cuban poets, often spoken of as "the
Cuban Pleiad," .'\vcllancda removed to Spain, where she mar-
ried and spent her life in tranquillity; and Joaquin Luaces
avoided trouble by living in retirement and veiling his patri-
otic songs with mythological names. On the other hand
Jos£ Jacinto Milan£s lost his reason at the early age of thirty
years, Jos6 Maria Heredia and Rafael Mendive fled the coun-
try and lived in exile; while Gabriel Valdfe and Juun Clemente
Zenea were shot by order of the governor-general.
Since the disappearance of the "Pleiad," the most popular
NOTES
295
Cuban poets have been Julian del Casal, a skeptic and a
Parnassian poet who wrote pleasing but empty verses ( Bojas
al sienlo, Nieve, Busies y Rimas); and Francisco Sellfn, irhose
philosophy is to conceal suffering and to put one's hand to
the plow again (Libra inlimo, Havana, 1865; Paesias, N. Y.,
1890). Jos£ Mart! (iSsj-rSgs) spent most of his life in edie;
but he returned to Cuba and died in battle against the Spanish
forces. He wrote excellent prose, but few verses {Flor y lava,
Paris, i9io(?)).
References; Menindra y Pelayo, Ant. Feelas Eisp.-Am., 11, p. 1 !.;
Blanco Garcia, III, p. ago f,; E. C. Hills, Bardes cvbanos (contains a
bibliography), Boston, igoi; Aurelio Mitjaos, Esludia sabre d manmietila
dfuHfico y likrarU) en Cuba, Havana. iSgo; Bacliiller y Morales. Apunles
para la historia de las Iilras y de la inslruccUn pAblUa ie la Isla de CiAa,
Havana. 1S51J; La potsia lirica en Cuba, M. Gonz&lez del Vulle, Bar-
celona. iQOO; Cuba pollica, Havana, 185S; Parnaso ciibano, Havana,
;ntral and southern
;ntral plateau it is
as at the foot of
Heredia- see preceding note
S This IS quite true On the a
Mexico the climate is tropical o
temperate and on the mountain
Popocatepetl it is fngid
13 14 Iztaccihual and Popocatepec are the popular names
of these mountima but their oihciat names are / laccikvatel
and Popocalfpele! These words ire of Nahuillan ongin see
m \ ocab
id-iS do teHir8e = rfo) A el t'dn I do las mira Unirse
en purpura ligera y era
181 — 3 This poem was wntten in the fourth decade of
the nineteenth century when Mexico was torn by civil war
There «as peace only when some military leader assumed des
21. Note that the moon set behind PopocBtepec, a little to
the south of west from Cboluk, while the sun sank behind
Iztacdhnal, i
183. — 14. Pueron (lit. Ihey -luere), they a
this Latiiiism the preterit denotes that n thing or condition
that once existed no longer exists. C£. fuit Iliutn {/Encid, II,
3'S), "Troy is no more."
186. — 4-5. Que . . . Beeuii = que, en sa tuelo, la turbada
pisia quiere en vana seguir,
190. — "PlStido": see note to p. 179.
Plegaria & Dios: this beautiful prayer was written a tew
days before the poet's death. It is said that " Placido "
recited aloud the last stanza on his way to the place of execu-
tion, and that he slipped to a friend in the crowd a scrap of
cloth on which the prayer was written.
191. — 4. del . . . traiispareiiciB. = iE (in) la dara transpa~
rencia del aire.
Avellaneda: see Introduction, p. xxiviii.
ig. No . . . modelo = (/a hislaria) no {did] modelo & lu virlud
en lo pasado.
193. — 1-2. MirS . . . victoria = /ij Europa mird al gcnio de
la guerra y la victoria ensaiigrentar s« suelo. The genio wjia
Napoleon Bonaparte.
4. Al . . . cielo -el cielo Ic diera al genio del bieii. Note that
le is dative andal genio accusative. This otherwise admirable
sonnet Is marred by the numerous inversions of the word-order.
193. — Ecuador is a relatively small and mountainous
country, lying, as the name implies, directly on the equator.
The two principal cities are Guayaquil, a port on the Pacific
coast, and Quito, the capital. Quito is beautifully situated
on a plateau 9300 feet above the level of the sea. The
climate is mild and salubrious, and drier than at Bogotd.
The early Spanish colonists repeatedly wrote of the beauti-
ful scenery and the "eternal spring" of Quito.
i
NOTES
297
All of the present Ecuador belonged to the Virreinato del
Peril till 1721, after which date Quito and the contiguous ter-
ritory were governed from Bogota. In 1S24 Guayaquil and
southern Ecuador were forcibly annexed to the first Colombia
by Bolivar. Sis years later Ecuador separated from Colombia
and organized as a separate state.
In the territory now known as Ecuador the first colleges
were established about the middle of the sixteenth century,
by the Franciscans, for the natives, and by the Jesuits, as
elsewhere in America, for the sons of Spaniards. Several
chronicles by priests and other explorers were written dtuing
the early years of the colonial period; but no poet appears
before the seventeenth century. In 1675 the Jesuit Jacinto
de Evia published at Madrid his Ramillete de varias fiores
poilicas which contains, beside those by Evia, verses by An-
tonio Bastidas, a Jesuit teacher, and by Hernando Domlnguez
Camargo, a Colombian. The verses are mediocre or worse,
and, as the date would imply, are imbued with culteranism.
The best verses of the eighteenth century were collected by
the priest Juan de Velasco (1727-1819) and published in six
volumes under the title of Ei ocioso de Faenza. These volumes
n poems by Bautista Aguirre of Guayaquil, Jos£ Orozco
(£a conqnista de Menarca,
Ranitin Viescaa (sonnets,
most of whom were Jesuits
The expulsion of the Jes
several colleges in Ecuador,
I epn
poem in four cantos),
:, dfciiitas, etc.) and others,
its in 1767 caused the closure of
ind for a time seriously hampered
the work of classical education. But even before the edict of
expulsion scienllhc study had been stimulated by the coming
of French and Spanish scholars to measure a degree of the
earth's surface at the equator. The coming of Humboldt in
1801 still further encouraged inquiry and research. The new
spirit was given concrete expression by Dr. Francisco Eugenio
de Santa Cruz y Espejo, a physician of native descent, in
298 NOTES
El nuevo Luciano, a work famous in Che literary and the polit-
ical history of South America. In this work Dr. Espejo at-
tacked the prevailing educational and economic systems of the
colonies, and his doctrine did much to start the movement
tonard secession from the mother country.
Although the poetry of Ecuador is of relatively little impor-
tance as compared with that of several other American coun-
tries, yet Ecuador gave to the world one of the greatest
of American poets, Josfi Joaquin de Olmedo. In the Americas
that speak Castilian, Olmedo has only two peers among the
classic poets, the Venezuelan Bello and the Cuhan Heredia.
Olmedo was born in Guayaquil in 17S0, when that city still
formed part of the Virreinato del Peril. Consequently, two
countries claim him, — Peru, because he was born a Peruvian,
and because, furthermore, he received his eduaction at the
Universidad de San Marcos in Lima; and Ecuador, since
Guayaquil became permanently a part of that republic, and
Olmedo identified himself with the social and political li(e
of that country. In any case, Olmedo, as a poetic genius,
looms suddenly on the horizon of Guayaquil, and for a time
after his departure there was not only no one to take his place,
but there were few followers of note.
Olmedo ranks as one of the great poetic artists of Spanish
literature at the beginning of the nineteenth century. He is
of the same semi-claasic school as Quintana, and like him de-
voted to artistic excellence and lyric grandiloquence. The
poems of Olmedo are few in number for so skilled an artist,
and thoroughly imbued with the Grxco-Latin classical spirit.
His prosody nears perfection; but is marred by an occasional
abuse of verbal endings in rime, and the inadvertent employ-
ment of assonance where there should be none, a fault common
to most of the earlier Spanish- American poets. Olmedo's
greatest poem is La victoria de Junin, which is filled with
sweet-sounding phrases and beautiful images, but is logically
NOTES 299
inconsistent and improbable. Even Bolivar, the " Libertador,"
censured Olmedo in a letter for using the mackina of the ap-
pearance at night before the combined Colombian and Peru-
vian armies of Huaina-Capac the Inca, "showing himself to
be a talkative mischief-maker where be should have been
lighter than ether, since he comes from heaven," and instead
of desiring the restoration of the Inca dynasty, preferring
"strange intruders who, though avengers of his blood, are
descendants of those who destroyed his empire."
The Canto ol general Flares is considered by some critics to
be the poet's most finished work, though of less substance
and inspiration than La victoria de Junin. This General
Flofes was a successful revolutionary leader during the early
days of the Republic; and he was later as bitterly assailed by
Olmedo as he is here praised. Of a different type is the philo-
sophic poem, A un amiga en el nacimietito de su primegtnilo,
which is filled with sincere sympathy and deep meditation as
to the future. With the coming of middle age Olmedo's
poetic vein had apparently been exhausted, and the Peruvian
bard Felipe Pardo addressed to him an ode in which he
sought, though to no avail, to stimulate the older poet to
renewed activity (Paesias, Valparaiso, 1848, Paris, 1853;
Poesias itUdilas, Lima, 186)).
For a time after Olmedo's muse had become mute, little
verse of merit was produced in Ecuador. Gabriel Garcia
Moreno (1B21-1875), nnce president of the Repubhc and a
champion of Catbobcism, wrote a few strong satires in th?
style of Jovellanos. Dolores Veintemilia de Galindo (rSsi-
1857), who committed suicide on account of domestic infe-
licity, left a short poem, Quejas, which is unique in the older
Spanish-American literature by reason of its frank confession
of feeling. The reflexive and didactic poet Numa P. Llona
(1832- ) was the author of passionate outpourings of
doubt and despair after the fashion of Byron and Leopardi
M
I
300 NOTES
(Paellas, Paris, 1870; Canlos ameticanos, Paris, 1866; Cim
sonetos, Quito, 1881). The gentle, melancholy bard, Julio
Zalumbide (1833-1887), at first a skeptic and afterwards a
devout believer in Christianity, wrote musical verse in correct
languagebut of little force. Juan Lefin Mera (1832-1S94) was
one of the moi^t prominent literary historians and critics of
the Republic. Besides his Poesias (2d ed., Barcelona, 1893),
Lein Mera left a popular novel, Cumandd (Quito, 1876; Ma-
drid, 1851), an Ojeada histiricp-tritica sebre la poeiia ecuato-
riana (ad ed., Barcelona, 1893), and a volume of Cantares del
Pueblo (Quito, iHga), published by the Academia del Ecua-
dor, which contains, io addition to many semi-popular songs
in Castilian, a few in the Quichua language.
A younger generation that has already done some good
work in poetry includes Vicente Pedrahita, Luis Cordero,
Qllintiliano S&nchcz and Remigio Crespo y Toral.
References: Men. Pel., AtU. Pailas Hisp.-Amer., in, p, Imiii (.;
Blanco Garda. Ill, 350 f.; Ensayo sobre la lUtralura ccutdmana.
Dr. Pablo Berrera, Quito, iS6o; Ojeada kislirico-crUica sobre la paesta
ecMOloriaBa. Juan Ledn Mera, Quito, 1S6S, 2d ed., Barcdona, 1803;
EscrUeris espanalci I Uspane-anieTiianos, CaSete, Madrid, 18S4; Lira
ecBoldnana, Vicente Emilio Molestina, Guayaquil, 1865; Nueca lira
tcual., Juan Abel Echeverria. Quito, 1879; Panose ecual., Manuel
Gallegos Naranjo. Quito, i87g; Amtrica petlica, Juan MarCa Gutifnex,
Valparaiso. 1846 (the best of the early anthologies: contains a few
poems by Olmedo) ; A ntologia eeuai., published by tbe Academy of Ecua-
dor, with a second volume entided Caalarei del pueblo ecual. (edited by
Juan Le6n Men), both Quito, iSg2.
Peru. The literature of Ecuador is so closely associated
with that of Peru, that the one cannot be properly treated
without some account of the other. The Virreinato del Pcrii
was the wealthiest and most cultivated Spanish colony in
South America, and in North America only Mexico rivaled it
in induence. Lima, an attractive city, thoroughly Andalusiait
NOTES 301
in character and appearance, was the site of important insti-
tutions of learning, such as the famed Universidad de San
Marcos. It had, moreover, a printing-press toward the close
of the sixteenth century, a public theater by i6oz, and a
gazette by the end of the seventeenth century. The spread
of learning in colonial Peru may be illustrated by the fact
that the Jesuits alone, at the time of their expulsion In
1767, had twelve colleges and universities in Peru, the
oldest of which dated from the middle of the sixteenth
century and offered courses in philosophy, law, medicine
and theology.
The Peruvians seem to have been content with their lot as
a favored Spanish colony, and they declared for independence
only when incited to do so and aided by Bolivar of Colombia
and San Martin of Buenos Aires. After the revolution, Peru
was torn by internal discord rather more than other Spanish-
American countries during the period of adolescence; and it
was its misfortune to lose territory after territory. Bolivar
took northern Peru, including the valuable seaport of Guaya-
quil, and made it a part of the first Colombia; and largely
through the influence of Bolivar much of Upper Peru was made
a separate republic, that of Bolivia. Lastly, Chile, for centuries
a dependency of Peru, became independent and even wrested a,
considerable stretch of the litora) from her former mistress.
It is hard to realize that Peru, to-day relatively weak among
the American countries, was once the heart of a vast Inca
empire and later the colony whose governors ruled the terri-
tories of Argentina and Chile to the south, and of Ecuador and
Colombia to the north. With the decline of wealth and piolit-
ical influence there has come to Peru a decadence in letters.
Lima is still a center of cultivation, a city in which the Cas-
tilian language and Spanish customs have been preserved
with remarkable fidelity; but its importance is completely
eclipsed by such growing commercial centers as Buenos Aires,
303 NOTES
Montevideo and Santiago de Chile, and by relattveljr small
and conservative towns such as Bogota.
In the sisteenth century Garcilasso Inga de la Vega (his
mother was an " Inga," or Inca, princess), who had been well
trained in the Latin classics by Spanish priests, wrote in
excellent prose his famous works, Florida del Inca, Comen-
tarios reales and Historia general del Ptru, The second work,
partly historical and largely imaginary, purports to be a
history of the ancient Incas, and pictures the old Peru as an
earthly paradise. This work has had great induence over
Peruvian and Colombian poets. MenSndez y Felayo (Ant.
Poetas Hisp.-Amer., Ill, Inlrod.) considers Garcilasso, or
Garcilaso, and .\larc6n the two truly classic writers that
America has given to Spanish literature.
In the Golden Age of Spanish letters several Peruvian poets
were known to Spaniards. Cervantes, in the Canto de Caliope
and Lope de Vega in the Laurel del A polo make mention of
several Peruvians who had distinguished themselves by their
verses.
An unknown poetess of Huanuco, Peru, who signed herself
"Amarilis," wrote a clever silva in praise of Lope, which the
latter answered in the epistle Bdardo d Amarilis. This sUva
of "AroBriJis" is the best poetic composition of the early colo-
nial period. Another poetess of the period, also anonymous,
wrote in terza rima a Discurso en loot de la foesia, which
mentions by name most of the Peruvian poets then living.
Toward the close of the sixteenth century and in the early
decades of the seventeenth century, several Spanish scholars,
mostly Andalusians ot the Sevillan school, went to Peru, and
there continued literary work. Among these were Diego
Mexfa, who made the happiest of Spanish translations of
Ovid's Heroides; Diego de Ojeda, the best of Spanish sacred-
epic poets, author of the Cristiada; Juan G&lvez; Luis de
Belmonte, author of La Hispdlica; Diego de Avaios y Figueroa
I
NOTES 303
whose Misceldnea austral (Lima, 1603) contains a. long poem
in ottava rima entitled Defensa de damas; and others. These
men exerted great influence, and to them was largely due the
peculiarly Andalusian flavor of Peruvian poetry.
The best Gongoristic Poetics came from Peru. This is the
Apologitica en favor de D. Luis de Gdngora (Lima, 1694), by
Dr. Juan de Espinosa Medrano.
In the eighteenth century the poetic compositions of Peru
were chiefly "versos de circutistanciai" by " poeias de ocasiin."
Many volumes of these were published, but no one reads them
to-day. Their greatest fault is excessive culteranism, which
survived in the colonies a half-century after it had passed
away from the mother country. The most learned man of the
eighteenth century in Peru was Pedro de Feral la Barnuevo,
the erudite author o£ some fifty volumes of history, science
and letters. His best known poem is the epic Lima fundada
(Lima, 1732). He wrote several dramas, one of which, Rodo-
guna, is CorneiUe's play adapted to the Spanish stage, and
has the distinction of being one of the first imitations of the
French stage in Spanish letters. All in all, the literary output
of Peru during the seventeenth and eighteenth centuries is
disappointingly small in quantity and poor in quality, in view
of the important position held by this flourishing colony. The
Peruvian writers, then and now, lact in sustained effort.
During and immediately following the revolutionary period,
the greatest poet is Olmedo, who was born and educated in
Peru and became a citizen first of the primitive Colombia
and then of Ecuador, only as his native city, Guayaquil,
formed a part of one political division after another. It is
customary, however, to consider Olmedo a poet of Ecuador,
and it is so done in this volume.
After Olmedo, the commanding figure among the classical
poets of Peru is Felipe Pardo y Aliaga (1806-1868). Pardo
was educated in Spain, where he studied with Alberto Lista.
304 NOTES
From his teacher he acquired a fondness for classical studies
and a conservatism in letters that he retained throughout his
life. In his later years he was induced to adopt some of the
metrical forms invented or revived by the romanticists, but
in spirit he remained a conservative and a classicist. He had
a keen sense of wit and a lively imagination which made even
his political satires interesting reading. Besides his Foesias y
escritos en prosa {Paris, i86g), Pardo left a number of com-
edies portraying local types and scenes which are clever at-
tempts at imitation of Spanish drama. As with all the earlier
poets of Spanish America, literature was only a side-play to
Pardo, although it probably took his time and attention even
more than the law, which was his profession. A younger
brother, Jos^ {1830-1S73), wrote a few short poems, but his
verses are relatively limited and amateurish, Manuel Ascensi6n
Segura (1805-1871) wrote clever farces filled with descriptions
of local customs, somewhat after the type of the modern
gittero chico {Artlculos, poesias y camedias, Lima, 1866).
The romantic movement came directly from Spain to Peru
and obtained a foothold only well on toward the close of the
first half of the century. The leader of the Bohemian roman-
ticists of Lima was a Spaniard from Santander, Fernando
Velarde. Around him clustered a group of young men who
Imitated Espronceda and Zorrilla and Velarde with great en-
thusiasm. For an account of the "Bohemians" of the fourth
and fifth decades in Lima [Numa Pompilio Llona (b. 1831),
Nicolis Coqjancho (1830-1863), Luis Benjamin Cisiieros
(b. 1837), Carlos Augusto Salaverry {1830-1891), Manuel
Ascensi6n Segura (b, 1805), Clemente Althaus (i83S-i88r),
Adolfo Garcia (1830-1:883), Constantino Carrasco (1S41-1S77)
and others], see the introduction to the Poesias (Lima, 1887)
of Ricardo Palma (1833- : till igia director of the national
library of Peru).
Not often could the romanticists of America go back to
i
NOTES 305
mdigenous legend for inspiration as their Spanish cousins so
often did; but this Constantino Carrasco undertoolc to do in
his translation of the famous Quichua drama, OUania. It was
long claimed, and many still believe, that this is an andent
indigenous play; but to-day the more thoughtful critics are
inclined to consider it an imitation of the Spanish classical
drama, perhaps written in the Quichua language by some
Spanish priest (Vald^s?). The 8-syIlable lines, the rime-
scheme and the spirit of the play all suggest Spanish in-
fluence. In parenthesis it should be added that Quichua
verse is still cultivated artificially in Peru and Ecuador.
The two men of that generation who have most distinguished
themselves are Pedro Paz-Soldin y Unanue, "Juan de Arona"
{1839-1894), a poet of satire and humor; and Ricardo Palma
(1833- ) a leading scholar and literary critic, best known
for his prose Tradiciones peritanas {Lima, 1875 and 1899).
The strongest representative of the present-day " moder-
nislas" in Peru is Joafi Santos Chocano (1S67- ), a, disciple
of Darfo. Chocano writes with much grandiloquence. Hia
many sonnets are mostly prosaic, but some are finished and
musical (cf. La magnolia). He is more Christian (cf. Eva-nge-
leida) than most of his contemporaries, and he sings of the
conquistadores with true admiration [cf. En la aldea, Lima,
1895; Iras sanlas, Lima, 1895; Alma Amfrica {PrSlogo de
Miguel de Unamuno), Madrid, igoG; La selva virgen, Paris,
1901; fiat lux, Paris, 1908I.
A younger man is Edilherto Zegarra Ball6n of Arequipa
J, (1880- ), author of Vibraciones, Poemas, el al. His verse
is simpler and less rugged than that of the more virile
Chocano.
References: Men. Pel., AiU. Paelas Biip.-Amer., Ill, p. alii f,;
BkncD Garda. Ill, 362 I.; Diccimtaria Mstdrico y biogrdJicB dd Peri,
fomiado y redailado par Manjul de Meadibum, g vol^., Lima, 1874-80;
ColtaUn dt docuMtnles lUerarias del Peri, 11 vols,, Manuel de Odrio-
306 NOTES
lola, Uma, 1863-74; Amfrica pollica, Juan Marfa Guti^TTei, Valparala
1846; PamasB peruana. J. D. Cortes, Paris, [S75; La Bckemia limn
it 1S4S tl i860, Prilata it Potslas dt Ricarda Palma, Oma, 1SS7; Lira
amtricana, Ricaido Palma. Paris, 1S65.
I
193. — Olmedo; see preceding note.
8. A, with.
IH. — 15-17. The following is a translation of a note
these lines which is given in Poesias de Olmedo, Garnier Her-
manos, Paris, 1896: "Physicists have attempted to explain the
equilibrium that is maintained by the earth in spite o( the
difference of mass in its two hemispheres" (northern and
southern). "May not the enormous weight of the Andes be
one of the data with which this curious problem of physical
geography can be solved?"
195. — 4. The religion of the ancient Peruvians, before they
were converted to Christianity by the Spaniards, was based
on the worship of the sun. The chief temple of the sun was
at Cuzco.
aS- Bolivar was a native of Caracas, Venezuela; but, when,
this poem was written, Colombia comprised most of the pres-
ent States of Venezuela, Colombia, Panama and Ecuador.
Moreover, Colombia is probably used somewhat figuratively
by the poet to designate the "land of Columbus."
26. The Peruvians and the Colombians were allies. It is
an interesting fact that in the war for independence waged
by the Spanish Americans against Spain, the leaders of the
Americans were nearly all of Spanish descent, while the ma-
jority of the rank and file of the American soldiery was Iq-
dian. To this day, a majority of the population of Spanish
America, excepting only Chile, Argentina and the West
Indian Islands, is indigenous, and their poets still stng of " in-
digenous America," but they sing in the Spanish tonguel See
e to '
:.l. 7.
NOTES 307
196. — 21. See note to p. 163, 1. 8. The Peruvian flag has
an image oF the sun in its center.
23. It is reported that the first onslaught of the Spanish-
American cavalry failed, partly by reason of their impetuous-
ness, and that they would probably have been defeated if
Bolivat had not rallied them and led them on to victory.
198. — 10. The ballleof Junin began at about five o'clock in
the afternoon, and it is said (hat only night saved the Spaniards
from complete destruction.
II. El dios ofa: destiny did not permit the god to stay his
course for an hour, but the god left behind him his circlet of
diamonds (the stars).
199. — Mexico. The Virreinalo de Nueva EspaiSa was a
favored colony, where Spanish culture took deepest root. It
had the first institution of learning in America (opened in
ISS3 by decree of Charles I) and the first printing-press
(1540?). Some 116 books were printed in Mexico City during
the sixteenth century, most of which were catechisms or gram-
mars and dictionaries in the native languages. In the six-
teenth and seventeenth centuries several Spanish poets,
mostly Sevillans, went to Mexico. Among these were Diego
Mexla (went to Mexico in isg6); Gutierre de Cetina, Juan de
la Cueva, and Mateo AlemSn (published Orlografia casteltana
in Mexico in 1609). Ccrtdmcncs pcfticos ("poetic contests")
were held in Mexico, as in other Spanish colonies, from time
to time. The first of importance occurred in Mexico City in
1583, to which seven bishops lent the dignity of their pres-
ence and in which three hundred poets (?) competed. After
the discovery and conquest of the Philippines, great opulence
came to Mexico on account of its being on a direct route of
Pacific trade between Europe and Asia, and Mexico became
an emporium of Asiatic goods (note introduction of Mexican
dollar into China).
The first native poet deserving of the name was Francisco
3o8 NOTES
dc Terrazaa (cf. Cervantes, Canla de Callape, 1584), who left
in manuscript sonnets and other lyrics and an unfinished epic
poem, Nneva tniindo y canguiala. It is interesting that in the
works of Terrazas and other native p<)ets of the sixteenth
century the Spaniards are called " sobtrbios," "maias," etc.
Antonio Saavedra Guzm&n was the first in Mexico to write
in verse a chronicle of the conquest [El peregrino indiano,
Madrid, 1599). Coloquios espirituales (publisheil posthu-
mously in 1610), aw/tiiof the "morality" type, with much local
color and partly in dialect, were written by FernSn Gonz&lez
Eslava, whom Pimentel considers the best sacred dramatic
poet of Mexico. Sacred dramatic representations had been
given in Spanish and in the indigenous languages almost from
the time of the conquest. According to Beristain, at least
two plays of Lope were done into Nahuatl by Bartolomfi de
Alba, of native descent, and performed, tis.: M animal projtta
y dickosa parricula and La madre de la Mejor.
The first poet whose verses are genuinely American, exotic
and rich in color like the land in which written {a rare quaUty
in the Spanish poetry of the period), was Bernardo de Bal-
huena {1568-1637: born in Spain; educated in Mexico). Bal-
huena had a strong descriptive faculty, but his work lacked
restraint {cf. Grandeza mexicana, Mex., 1604; Madrid, 1821,
iSig and 1837; N. V., 1828; Mex., i860). The great drama-
tist, Juan Ruiz de Alarcfin (isSiP-iOjg), was born and edu-
cated in Mexico; but as he wrote in Spain, and his dramas are
Spanish in feeling, he is best treated as a Spanish poet.
Next only to Avellaneda the most distinguished Spanish-
American poetess is the Mexican nun, Sor Juana In£s de la
Cruz (1651-1695), whose worldly name was Juana Infis de
Asbaje y Ramirez de Cantillana. Sor Juana had intellectual
curiosity in an unusual degree and early began the study of
Latin and other languages. When still a young girl she became
a maid-in- waiting in the viceroy's palace, where her beauty
NOTES 309
and wit attracted touch attention; but she soon renounced the
worldly life of the court and joined a religious order. In the
convent of San Jer6nimo she turned for solace to books, and
in time she accumulated a library oC four thousand volumes.
Upon being reproved by a zealous bishop for reading worldly
books, she sold her entire library and gave the proceeds to Ihe
poor. Sor Juana's better verses are of two kinds: those that
give evidence of great cleverness and mental aculeness, and
those that have the ring of spontaneity and sincerity. As an
exponent of erotic mysticism, she is most interesting. In the
most passionate of her erotic verses there is an apparent sin-
cerity which makes it difficult for the lay reader to believe
that she had not been profoundly inBuenced hy human love,
— as when she gives expression to the feelings of a loving wife
for a dead husband, or laments the absence of a lover or tells
of a great jealousy. In addition to her lyrics Sor Juana wrote
several aulo! and dramas. Her poems were first published
under the bombastic title of Inundaciin caitilida de la jlnica
poelisa, Musa dlctma, Sor Juana I tits de la Crus, Madrid, 16S9
(vol. II, Seville, 1691; vol. Ill, Madrid, 1700).
During the first half of the eighteenth century the tradi-
tions of the preceding century persisted; but in the second
half there came the neo-classic reaction. Among the best of
the prosaic poets of the century are: Miguel de Reyna Zehallos
(La elocuencia del silencte, Madrid, 1738); Francisco Ruiz de
Le6n {Ilernandia, 1755, based on the Conijuisla de Mixica by
Soils); and the priest Jorge Jos£ Sartorio (1746-1828; Poeslas
sagradas y profanas, 7 vols., Puebla, ifiii). The Franciscan
Manuel de Navarrete (1768-1809) is considered by Pimentel
superior to Sor Juana Infa de la Crua as a philosophic poet
(the writer of this article does not so consider him) and is
called the " restorer of lyric and objective poetry in Mexico"
I (cf. Pim., Hist. Poesla Mex., p. 442). Navarrete wrote in a
tyariety of styles. His verses are harmonious, but altisonante
3IO NOTES
and often incorrect. His best lyrics, like those of Cienfuegos,
have the personal note of the romanticists to ioltow (Enire-
tcnimimtos poiticas, Mex., 1813, Paris, 1835; Poesias, Mex.,
1905)-
There were no eminent Mexican poets during the revolu-
tionary period. Andres Quintans Roo (i78?-i85i) was a
lawyer and journalist and president of the congress which
made the first declaration of independence. Pimcntel (p.
309) calls him an eminent poet and one of the best of
the period. Two of the most important in the period arc:
Manuel Sinchez de Tagle (1781-1847), a statesman given to
philosophic meditation, but a paot versifier (foeiloj, 1851);
and Francisco Ortega (i793-r84.9), an ardent republican, who
opposed Iturbidc when the latter had himself proclaimed em-
peror of Mexico in 1S21 (_Poesias liricas, 183Q; cf. A llurbide
en !u coronacidn) , To these should be added Joaqufn Marfa
del Castillo y Lanzas (1781-1878), one-time minister to the
United States (Ocio J jwreniifi J, Philadelphia, 1835); and the
priest Anastasio Maria Ochoa (1783-1833), who translated
French, Italian, and Latin (Ovid's Heroides) works, and wrote
some humorous verses {.Poesias, N. V., 1828: contains two
dramas).
Next to AIarc6n, Che greatest dramatist that Mexico has
produced is Manuel Eduardo de Gorosliza (1789-1851), who
wrote few lyric verses, but many dramas in verse and prose.
His plays, which are full of humorous contrasts, were written
during bis residence in Spain and are, for the most part,
typically Spanish in all respects. Gorostiza, in manner and
style, is considered a bridge between Moratin and Bret6n.
His best comedy is La indulgencia para tados (cf. Teairo
original, Paris, i8aa; Teatra escogido, Bruxelles, 1835; Obras
dramdlims, Bibl. Aul. M ex., vols. 22, 24, 26, 45, Mei., -iSgg).
Romanticism came into Mexico through Spain. It was
probably introduced by Ignacio Rodriguez Galvin ((81(1-1843),
a. translator, lyric poel, and dramalist. His lyrics have the
merit of sincerity; pessimism is the prevailing lone and there
is much invective. His Profeeias dc Guatimoc is considered
the masterpiece of Mexican romanticism (Obras, z vols., Mex.,
1851; Paris, 1S83). Another well-known romantic lyricist and
dramatist is Fernando Calderfln (1809-1345), who was more
correct in form than Rodriguez Galvin (Poesiai, Mex., 1844
and 1849; Paris, 1883; Mex., igoa).
The revival of letters in Mexico is generally attributed to
the conservative poets Peaado and Carpio, both of whom
sought to be classic, although they were not altogether so in
practise. Probably the best known Mexican poet, though
certainly not the most inspired, is Jos<5 Joaquin Pesado
(1801-1861). He translated much from Latin, French and
Italian, and in some cases failed to acknowledge his indebted-
ness (cf. Pimentel, p. 694). His best translations arc of the
Psalms. The Azlccas, which were published as a translation
of, or an adaptation from, indigenous legends, are mostly
original with Pesado in all probability. He is an unusually
even writer, and some of his verses are good (cf. certain son-
nets: Mi amada en la miia del alba, which reminds one of
Melfndez Valdfs in Rosaiia en los fuegos; Elegia al dngcl de
la guardia de FJisa; and parts of La revclaci&ii in ociavas reales).
Monies de Oca and Menindez y Pelayo consider Peaado the
greatest of Mexican poels; but Pimentel does not (p. 6g4).
Cf. Poesias originates y Iradticciones , Mex., 1839-40 (must
complete), 1886 (introduction of Montes de Oca); Biografla de
Pesado, by Jos6 Maria Roa Bircena, Mei., 1818. Manuel
Carpio (1791-1860) began to write verses after he had reached
the age of forty years, and there is, consequently, a certain
ripeness of thought and also a lack of feeling in his poetry.
His verses are chiefly narrative or descriptive and generaliy
treat of biblical subjects. His language is usually correct,
but often prosaic (Poesias, Mex., 1S49).
312 NOTES
Minor poets of this period are: Alejandro Arango (iSai—
1B83), an imitator of Le6n [Versos, 1879; Ensayo kistdrico
sobre Fr. Luis de Lein, Mex., 1866); Ignacio Ramirez (181S-
1S7Q), of Indian race, who was a free lance in religion and
politics, and largely responsible for the separation of Church
and State in Mexico {Poeslas, Mex., i88g, and Leccianes de
lileratura, Mex., 1S84); and Ignacio M. Altamarino (1834—
iStij}, an erotic and descriptive poet [Obras, Mex., 1899).
The most popular Mexican poets during the second half of
the nineteenth centurv have been Acuiia Flores Peza and
Gut £rrez Nj.jera \ mater al t c conocljjtt Manuel Acuna
(1B49-1S73) nas une en and n orrect n language but capa-
ble ot deep poet e feel ng In h s Poesfas (Gam er, Paris,
8th ed ) there are t vo hort poen s that may hve Noclurno,
a pass onate express on of d sappo ntment n love and Ante
un adivtr a poem of dogmit matenat sm \cufia com-
m tted suede at the ige of t»entv four years Manuel
Maria Flores (1840- 8'?5) an erot c poet largeiv nfluenced
by Musset, is very popular in Mexico (Pasiananas, Paris,
1911). Probably the most widely read poet of the period is
Juan de Dios Peza (1851-1910). His verses are often incor-
rect and weak, as he improvised much; but they are interest-
ing, as they usually treat of homely topics (Poesias compUtas:
El arpa del amor, iSgi; Hagar y pairia, 1S91; Leyeiidas, iBgS;
Flares del atma; Recuerdos y esperanzas, 1899, Gamier, Paris),
The romantic pessimist, Manuel Gutierrez Nijera (d. 1888),
was tormented throughout life by the vain quest of happiness
and the thirst of truth. His verses, which are often elegiac
or fantastic, are highly admired by the younger generation of
Mexican poets. In a letter to the writer of this article, Blanco-
Fombona praises Gutierrez Nijera above all other Mexican
poets (Poeslas, Paris, 1909, 2 vols.).
References: Menfndez y Pdayo, Anl. Poelas Bisp.-Amer.
Blanco Garda, HI, 304 i-\ Francisco Pimertel, Itisloria
i
NOTES 31 j
paella m Mtxico, Mei., iSqi; Biblioleca hhpmui-ameru-ana sefilenlrienid,
n. }<a( Mariano Beristain de Souza, Men., iSib-?i. .< vuk {hat, more
Ihan :iooo litliH), — reprinted by Fortino Hipdlito de Vera, Amecameca,
iSHj; Bibliesrafia mtxicaaa dd siglo XVI (caHHagg naonado de las libras
impresoi in MtxUo de 1530 d j6oo); Biagrnfias de mericanos dislinguidos.
D. Francbco Sosi, Mex., 1884; Paelas yvcaticoi y laiajviieflii, D. Manuel
Sanchez Mintiol y D. Alonso de Kegil y I'e6n, M^rida dc Vucalin,
1S61; PiKfiiiu mexicaHos, Bugotd, 18S9: CeiecciSn de poeiiai nericaniu,
Paris. 1836; £J farnaso neiKsno. j6 vuU.. R. B. OrtegB. Mo.. iSSd;
BiblinUca dt auUrei mexicanas, some 75 vols, to igii, Mex,; 4iiiaj0jtld
df patttis mexioitios, publ. by .\cad. Mei.. Mex., 1S94; Poelai foexi-
canos. Carlos G. Am£zaga, Buenus Aires. i8g&; Las Iravadores de ittiics.
Pcsado: see preceding note.
La Serenata: see I nlradiulioa, Versification, p. Ixviii.
MO. — 6-11. These lines of Pesado are similar to those
found in the &rsl stanzas of Su aima by Milan^. See Hills'
Bardos cubanos (Boston, igoi}, p. 5g.
CalderOn: see note to p. 199.
242. — Acufla: see note to p. igg.
294. — 15. The language is obscure, but the meaning seema
to be: borrarte (d li que eslis) en nw's rtcuerdos.
ig. The forced synalepha of 70 haga is discordant and
304. — 33 to 80S. — S. That is, when the alur was ready
for the marriage ceremony, and the home awaited the bride.
The reference, apparently, is to a marriage at an early hour
in the morning, — a favored time for marriages in Spanish
806. — [.la alma, by poetic license, since d aima would
make the line too long by one syllable.
80T. — Pcza: see note to p. 199.
Ml. — Darlo: with the appearance in 1888 of a small volume
of prose and verse entitled Azid, by RubSn Darfo (1864- )
of Nicaragua, there triumphed in Spanish America the "move-
314 NOTES
ment of emancipation," the "literary revolution," which the
"decadents" had already initiated in France. As romanticiam
had been a revolt against the empty formalism of later neo-
classicism, so " decadence " was a reaction against the bard,
marmoreal forms of the " Parnasse," and in its train there
came inevitably a general attack on poetic traditions. This
movement was hailed with joy by the young men of Latin
America, who are hy nature more emotional and who live in
a more voluptuous environment than their cousins in Spain;
for they had come to chafe at the coldness of contemporary
Spanish poetry, at its lack oE color and its " petrified metrical
forms." With the success of the movement there was tor a
time a reign of license, when poet vied with poet in defying
the time-honored rules, not only of versification, but also of
vocabulary and syntax. But as in France, so in Spanish
America, "decadence" has had its day, although traces of
its passing are everywhere in evidence, and the best that was
in it still lingers.
To-day the Spatiish-American poets are tuining their at-
tention more and more to the study of sociological problems
or to the cementing of racial solidarity. These notes ring
clear in some recent poems of Darfo, and of Josf S. Chocano
of Peru and Ruiino Blanco-Fombona of Venezuela. The
lines given in the text are an ode which was addressed to
Mr. Roosevelt when he was president of the United Slates from
1901 to 1909. The meter of the poem is mainly the Old Span-
ish Alexandrine, but with a curious intermingling of lines of
nine, ten and eight syllables, and with assonance of the evma
lines throughout. In all fairness it should be stated here that
Senor Darfo, in a recent letter to the writer of these JVo(ei, said:
"I do not think to-day as I did when I wrote those verses"
(Dario; Eplslolas y poemas, 1885; Abrojos, 18S7; Aziil, 1888;
Cantos de vida y esperama, Madrid, igos; Ei canto errante,
Madrid, 1907).
NOTES
315
I
212. — 8, Argentina and Chile are the most progressive
of the Spa.nish- American States. The Argentine Qag is blue
and white, with a sun in the center; the flag of Chile has a
white and a red bar, and in one comer a white star on a blue
background.
II. This refers, of course, to the colossal bronze Statue of
Liberty by the French sculptor, Frfdfric Bartholdi, which
stands in New York harbor.
14. In a letter to the writer of these Notes, Senor Dario
explains this passage as follows: "Bacchus, or Dionysius, after
the conquest of India (I refer to the semi-historical and not
to the mythological Bacchus) is supposed to have e<"i^ W
other and unknown countries. I imagine that those unknown
countries were America. Pan, who accompanied Bacchus 00
Us journey, taught those new men the alphabet. All this
is related to the tradition of the arrival of bearded men,
Strangely dressed, in the American countries . , . These tra-
ditions eiist in the South as well as the North."
16. Queconsultfilosastros: the ancient Feruviansand Mexi-
cans had made considerable progress in thestudyof astronomy.
814. — ■ Venezuela. During the colonial period the develop-
ment of literary culture was slower in the Capitania de Caracas
than in Colombia, Peru and Mexici
Rosa, which was founded at Carai
university in 1721. Not till 1806 w
set up in the colony.
Poetry in Venezuela begins with Bello, tor the works of his
-predece^ors had little merit. Andr6s Bello (1781-1865) was
lummate master of poetic diction among Spanish-
American poets, although he lacked the brilliancy of Olmedo
and the spontaneity of Heredia. Born in Caracas and educated
in the schools of his native city, Bello was sent to England in
Oie year 1810 to further the cause of the revolution, and he
lined in that country till iSjg, when he was called to
The Coiegio de Santa
IS in T6g6, was made a
s the first printing-press
3i6 ncptes
Cldle lo Uike service in the Department of FoTEign ACsirs.
Hts life may, tbetefore, be divided inio ilircc distinct periods.
In Caiacas he studied chiefly the Lalin and Spanish classics
and Ibe elements of intmiational lav, and he made metrical
translations of Virgfl and Hoixce. Upon arriving in England
at the age of twenty-nine years, he gave himself with enthusi-
asm to the study of Greek. Italian and French, as well as to
English. Bello joined nHth ihe Spanish and Hispa no- -Ameri-
can scholars in London in the publication of several literary
reviews, notably the Ctnsor anrricana (1810), the Biblioteca
americana (1823) and the Repertorio amrricaHO {1816-17), and
in these he published many of bis most important works.
Here appeared his studies of Old French and of the Seng of
My C!d, his e^iceUent translation of fourteen cantos of Boiardo's
Orlando innamorata, several important articles on Spanish
syntax and prosody, and the best of all his poems, the Sitvas
fn 1829, when already forty-eight years of age, Bello re-
moved 10 Chile, and there entered upon the happiest period
of his life. Besides working in a government office, he gave
private lessons until in 1831 he was made rector of the College
of Santiago. In the year 1843 the University of Chile was
established at Santiago and Bello became its
held this Important post till his death twenty-two years later
at the ripe age of eighty-tour. During this third and last
period of his life Bello completed and published his Spanish
Grammar and his Principles of IiilernalioHal Lav-, works
which, with occasional slight revisions, have been used aa
standard textbooks in Spanish .\merica and to some extent
in Spain, to the present day. The Grammar, especially, has
been extraordinarily successful, and the edilio
by Jos£ Rufino Cuervo is still the best text-book of Spanish
grammar we have. In the Grammar Bello sought to I
Caatllian from Latin terminology; but he desired, most of li,
NOTES 317
to correct the abuses ao common lo writers of the period and
to establish linguistic unity in Spanish America.
Bello wrote little original verse during these last years of
his life. At one time he became exceedingly fond of Victor
Hugo and even tried to imitate him; but his classical training
and methodical habits made success impossible. His best
poetic work during his residence in Chile, however, are trans-
lations of Victor Hugo, and his free metrical rendering of
La PricTe pour lous (from the Feuilks d'aulemne), is amongst
his finest and most popular verses.
It is interesting that Andrfs Betlo, the foremost of Spanish-
American scholars in linguistics and in international law,
should also have been a preeminent poet, and yet all critics,
except possibly a few of the present-day " modernislas," place
his American Sihas amongst the best poetic compositions of
all Spanish America. The Silvas are two in number: the Ato-
cuciSn i la poesia and the Silva & la agricullura de la zona
ttrrida. The first is fragmentary- apparently the poet de-
spaired of completing it and he emb d ed in the second poem
n of those passages of the first work which de-
ture in the trop cs The S Ivas are in some degree
s of Virgil's Georg cs and thev are the best of Span-
Menfindez y Pelajo who is not too fond of
American poets, is wilhng to adm I ( int., II, p. cxiii) that
Bello is, "in descriptive and Georgic verse, the most Virgilian
of our (Spanish) poets." Caro, in his splendid biography of
Bello (in Miguel Antonio Caro's introduction to the Poesias
de Andres Bello, Madrid, 1882) classifies the SUvas as "sci-
entific poetry," which is quite true if this sort of poetry gives
an esthetic conception of nature, expressed in beautiful terms
and adorned with descriptions of natural objects. It is less
true of the Alocud6n, which is largely historical, in that it
introduces and sings the praises of towns and persons that
won fame in the revolutionary wars. The Siha d la agricul-
I
318 NOTES
lura, which is both descriptive and moral, may be best de-
scribed in the words of Caro. It is, says this distinguished
critic, "an accoimt of the beauty and wtalih of nature in the
tropics, and an exhortation lo those who live in the equator
Ih(it, instead of wasting their strength in political and domes-
tic dissensions, they should devote themselves to agricultural
pursuits." Hello's interest in nature had doubtless been stim-
ulated by the coming of Humboldt to Caracait in the first
decade of the nineteenth century. In his attempt to express
his feeling tor nature in poetic terms, he probably felt the
influence not only uf Virgil, but also of Arriaza, and of the
several poems descriptive of nature written in Latin by Jesuit
priests, such aa the once famous RusHcalio Utxkana by Father
Landivar of Guatemala. And yet there is very little in the
Sihas that is directly imitative. The Siha d la agricullura
de la zona tirrida, especially, is an extraordinarily successful
attempt to give expression in Virgilian terms to the exotic life
of the tropics, and In this it is unique in Spanish literature.
The beautiful descriptive passages in this poem, the noble
ethical precepts and the severely pure diction combine to
make it a classic that will long hold an honored place in
Spanish- American letters {Obras complfias, Santiago dc Chile,
iS8i-,j).
During the revolutionary period the most distinguished
poets, after Bello, of that part of the greater Colombia which
later formed the separate republic of Venezuela, were Baralt
and Ros de Olano. Rafael Marfa Baralt (iSio-iS6a) took
part in the revolutionary movement of secession from the
first Colombia; but later he removed to Spain and became a
Spanish citizen. His verses are usually correct, but lack feel-
ing. He is best known as a historian and maker of dictionaries.
Baralt was elected to membership in the Spanish Academy
General Antonio Ros de Olano (i8o2-!8B7) also removed to
NOTES 319
Spain and won high rank in the Spanish army. He joined the
romantic movement and became a follower of Espronceda.
Besides a volume of verses {Poestas, Madrid, 1S86), Ros de
Olano wrote El daclor Lanueta (1863) and other novels. Both
Baralt and Ros de Olano were identified with literary move-
ments in Spain rather than in Venezuela.
Jos^ Heriberto Garda de Quevedo (1819-1871) was a cul-
tivated and ambitious scholar who collaborated with Zorrilla
in Maria, Ira de Dios and Un cueitio de amores. Among his
better works are the three philosophical poems: Delirium,
La stguada vida and El prescriio {Obras pollicas y lilerarias,
Paris, 1863). Among the lesser writers of this period are
Antonio Maitfn (1804-1874), the best of Venezuelan roman-
ticists (cf. Et canio fiineire, a poem of domestic love); Abigail
Lozano (18^1-1866), a romanticist and author of musical but
empty verses ("w«ojaJ(ijoBaH(ej");Jos£ Ramfin Yepes(r82i-
1881), an army officer and the author of legends in verse, be-
sides the inevitable Poestas; Eloy Escobar (i8!4-i88g), an
elegiac poet; and Francisco G. Pardo (1829-1872), a raedloera
imitator of Zorrilla.
Next to Bello alone, the most distinguished poet of Vene-
zuela is JosfPfirez Bonalde { 184G-1 892), who was a good German
scholar and left, besides his original verses, excellent transla-
tions of German poets. His metrical versions of Heine, es-
pecially, exerted considerable influence over the growth of
literary feeling in Spanish America {Estrojas, N. V., 1877; Ei
poema dd Nidgara, N. Y., iSBo). At least two other writers
of the second half of the nineteenth century deserve mention:
Miguel Sfinchez Pesquera and Jacinto Gutifirrez Coll.
Among the present-day writers of Venezuela, Luis Ltipez
Mindez was one of the first to introduce into Spanish America
a knowledge of the philosophy and metrical theories of Paul
Verlaine. Manuel Dfaz Rodriguez (1868- ) has written
little verse; but he ia the best known Venezuelan novelist of
3 20 NOTES
to-day [Sangre palricia, Camino de perfecciSn (essays), idoles
Totos, CuenlBS, 2 vols., Confidential de Psiquis, Cuenles dt
color, Sensacioaes dr. viajr, De mis romerias]. The most influ-
cnliaJ of the younger writers is Rufino Blanco-Kombooa, who
was expelled from his native country by [he present andino
("mountaineer") governmEnl and now lives in exile in Paris.
At first a disciple of Mussel and then of Heine and Maupassant,
he is now an admirer of Darlo and a pronounced modernista.
Ills Leiras y telrados de H is pano- America is the best recent
work of literary criticism by a. SpanLsh-.\merican author-
Bianco- Fombona is a singer of youthful ambition, force and
robust love. His verses have rich coloring, but are at times
erotic or lacking in restraint (prose works: CiirM/D.r de poeta,
Maracaibo, 1900; Mds olid de los horisonles, Madrid, 1903;
CiieiUos americanos, Madrid. 1904; El hombre de kierro, Cara-
cas, 1907; Leiras y teirados de H ispano- America, Paris, igo8.
Verses: Potria, Caracas, 1895; Trovadores y Irovas, Caracas,
rSgg; Pequeiia ipera Urica, Madrid, 1904; Cantos dc la prisiSn,
Pads, 191 1 ).
References: 't.\eaeniezy'Pc\z.yo. Am. Poelas llisp.-AmrT..n. p. est:
Blanco Garda, III, p. 311 I.; Reseha kislSrica de la lileralara venezolana
(1888) and Eslado mtual de la lileratma en Venezuela (t89a>, both by
Julio Calcafio, Caracas; La tileralura venezelaHa en el sigle XIX,
Gonzalo Picdn Fehres, Caracas, 1Q06; Pamaso wtteadatu. 11 vols..
Julio Calcafio, Caracas. 1895; Biblioleea de escrilores vetieiolanos, Jos*
Maria Roj'as, Paris, 1875; Pamasa vennolitna, Barcelona, 1906,
Bello: see preceding note.
1. The LiOK symbolizes Spain, since from the medieval
kingdom of Leon modem Spain sprang. The battle of Bailf n
(see in Vocab.) look place in 1808 when Bello was twenty-
seven years of age and still loyal ro Spain.
214. — 16 io21S, — .^. Que . . . condibe6 = que circwtscribes
el vaga curso al { — del) sol cnamorado, y (lA), acariciada 4« Jt
!, coHcibes ciunto sw ( = every being that) si
rio clima.
tS. The use of quien referring to inanimate objects is
now archaic.
216. — ig to 317. — 3. It is said that the banana gives
nourishment to more human beings than does any other
plant. The fruit is taken when it is still green, before the
starch has turned to sugar, and it is boiled, or baked, or it
is ground and made into a coarse bread.
6-g. En que . . . bonda.dosa!^«i qiie (/a) naturaUza bonda-'
desa qaiso kacer reseHa dt sm favorfs . . .
9. The student should compare this and the following lines
with Vida rtlirada by Fray Luis de Le6n, p. 9.
ig.' The rime requires habita, instead of kabilad.
22-23. 7 atada = v !a rasdn na alada al Iriunfal carra
de la moda, iiniiersat seriora
Slfl. — io-i6 ^EsperarfiB . , . ata? ^ ^esperariis que (el)
kimenco forme mdi venturoias lasoi da el interis, tirano del
deseo, barata ajena mano y fe por nomhre 6 plata, que do con-
jorme gttsio, conforme rdad, v ( = both) eUccidn litre y { = and)
mttluo ardor ala los lazosi Note that, by poetic license, ata
agrees in number with the nearest subject, although it has two.
220. — S-ii. As this poem was written after the Spanish-
American colonies had revolted against the mother country,
Bello no longer rejoices at the success of Spanish arms not
grieves over their losses, as he had done when he wrote A la
victoria de Bailin.
Pfrea Bonalde; see note to p. 214.
222. — 5. The Venezuelan flag is yellow, blue and red with
seven small white stars in the center.
225. — La carcelera: the words and music of this song and of
the first that foHows are taken from the Cancionero salman-
lino (DAmaso Ledesma), Madrid, iga;.
227. — La cachucha: the words and music of this song and
322 NOTES
of the five that immediately follow are taken from Poesias
populares (Tom£s Segarra), Leipzig, 1862.
t9S, — El tiigaU: (lit., the svaUaw it) a song with which the
Spanish liberals taunted the partizans of an abscdute gov-
ernment.
Z4Z. — ffimno de Riego: a song to the liberal general, Rafael
de Riego (i 784-1823), who initiated the revolution of 1820 in
Spain and proclaimed at Cabezas de San Juan the constitu-
-tion of 181 2. Cf. Versification, p. Ixziz.
251. — Himno Nadonal de Cuba, called also the ffimno de
Bayamo, on account of the importance of Bayamo (see in
Vocab.) in the Cuban revolution of 1868. Note the ternary
movement of this song, and see Versification, p. Izziii.
VOCABULARY
ABBREVIATIONS USED IN THE VOCABULARY
adj.
adjective.
m.
masculine.
adv.
adverb.
mod.
modem.
arch.
archaic.
n.
noun.
conj.
conjunction.
P-
page.
d.
died.
P'P-
past participle,
dim.
diminutive.
pi.
plural.
/.
feminine.
prep.
preposition.
fii-
figuratively.
pr. n.
proper noun.
impers.
impersonal.
pron.
pronoun.
inierj.
interjection.
rejl.
reflexive.
interr.
interrogative.
sing.
singular.
intr.
intransitive.
tr.
transitive.
I.
line.
N. B. — Articles, pronouns and demonstrative adjectives
are omitted, unless there is a special reason for their presence.
Adjectives having a masculine termination in -o and fem-
inine in -a are given in the masculine form only. In other
cases where both forms are not given the masculine and
feminine are assumed to be alike.
VOCABULARY
A
abrazo, m., embrace.
«,M^, to, at, in, on;by, ot,
fibrego, m., southwest wind.
from; with, for; before; al
abreviar (de), to cut short. j
afio, witliin a year.
abrigar, to shelter, lodge.
abad, m., abbot.
abrigo, ni., shelter.
abajo, Bdr., beiow.
abril, m., April; pi. years.
abalanzarse, to rusli, dart.
abrir {p. p. abierto), Ir. to
abandonor, to abandon, de-
open, tear open, lay bare;
sert, give up.
iiUr. and refi. to open.
abandono, m., forlorn ness.
abrochar, to button.
abauico, hi., fan.
abrojo, «., thorn; thistle.
abarcar, to embrace, contain.
absolute, adj., absolute, des-
abastar, to supply, provide.
iiotic.
abatir, to overthrow, lay low.
absorto, odj; absorbed (in
abedul, m., birch-tree.
llioughl), entranced.
Abenfimar, pr. n. m.
abuela, /., grandmother, an-
abierto, p. p., open.
cestress.
abismarse, to »nk.
abuelo, m., grandfather, an-
abismo, w., abyss, gulf.
cestor.
ablaadar, to soften.
aca, adv., here, hither.
abominar, to detest.
acabar, Ir. to end, finish;
abonar, to fertilize.
iiilr. to come to an end,
abrasar, to set on fire, kindle,
end; cease.
fire, bum, parch; rejl, to
acallar, to hush, quiet.
burn, be on fire.
acariciar, to caress.
^^ abrazado, p. p., (it-ilh fi) cm-
acarrear, to carry.
^^L bracing, dasping.
acaso, adv., by chance, per-
^H. ^'^
VOCASULAKY ^^^^^^^|
haps; n. m., chance; al
acsGO, at the mercy of
in anguish.
chance.
aconsejar, to advise; rejl. lo
acator, to respect, revere.
take advice.
acddn,/,, action, gesture.
acontecef, to happen.
acodar, to sour; spoil.
acordar, to determine upon;
_ acelerado, p. p., hasty,
tune, mate harmonious;
speedy.
refl. with de, to remember.
acelerar, to hasten, accelerate.
acorde, adj., in harmony.
ocendiar, to purify, refine.
acoirer, to aid.
ocento, HI., accent.
acostar, ro lay away.
acerado, adj., of steel.
acostumbrar, to be accus-
acerbo, adj., bitter.
tomed to.
acerear, to bring near; refi. to
acrecentar, to increase; ad-
approach.
vance.
acero, «., steel; sword.
acribillar, to pierce with
acertar, to guess aright, tell
boles (like a sieve).
certainly.
actividad, /., activity.
aclbar, m., aloes; bitterness.
actor, m., actor.
acibarar, to embitter.
acuchiHado, p. p., slashed.
adamacidn, /., acclamation;
acudii (fi), to have recourse
pi. applause.
to, turn to for aid; hasten
adamar, to applaud.
up, approach; assist, at-
aclarar, to clear up, solve.
tend.
acoger, to receive, shelter;
Acufla, pr. n.
re^. witk en, to take refuge
acusacifin, /., accusation.
in, rest upon.
acusar, to accuse.
BGometer, to attack.
adalid, m., chieftain, com-
acometiiniento, m., attack.
mander.
Adamuz, pr. n. (a viUage in the
follow.
province of Cardm/a; popu'
acompasado, p. p., measured.
lation about 7000).
acompasar, to measure, mark
AdSn, pr. a. m., Adam.
time for.
adarga,/., shield.
T—
"^
VOCABULAKY 327
adueSarse (de), to seize.
adulaci6ii, /., flattery.
get ahead; advance.
adulador, m., flatterer.
adulto, adj.. adult, full-grown.
ward, further; el llano ade-
adusto, adj., sullen.
Unte, forward across the
adversidad,/., adversity.
plain.
adverse, adj., adverse.
ftdemAn, m., gesture, attitude.
advertido, p. p., eiperienced.
adem&s, adv.. moreover, be-
skilful.
1
sides; (arch.) excessively.
advertir, to take notice, ob-
adentro, adv., within.
serve, note.
•difis, inlerj., farewell, good-
aereo, adj., aerial.
by.
afable, adj., affable.
sdivinar, to guess, foretell.
afSn, m., care, anxiety; de-
administrar, to administer.
sire, solicitude, eagerness;
give.
toil.
atauar, totoil; desire eagerly.
admirado, p.p., astonished;
afaiioso, adj., zealous, solici-
admiring.
tous, eager.
1
admirar, to astonish, cause
afecto, m., affection, love.
admiration; admire; rejt.
afeite, m,, cosmetic, paint.
wilh de, to wonder at, ad-
aficifin, /., affection; eager-
admitir, to admit, accept, ad-
eflcionar, to inspire affection.
mit of.
afllar, to sharpen.
1
adonde, adv., whither.
afiligranar, to adorn with fili-
1
adoradSn,/., worship.
gree work, embellish.
adorar, to worship, adore,
aflicdon,/., affliction, grief.
1
love passionately.
afligir, to afflict, pain; refi. to
adonnecer, to lull, soothe.
grieve.
adonneddo, p. p., drowsy,
afortunado, adj., fortunate,
1
sleepy.
lucky. J
^
adOTmidera, /., poppy.
afrenta, /., insult; disgrace; ■
■
adoniar, to adorn, decorate.
ser afrenta &, to shame. ^M
3»8
ofrentarse, lo lie ashnmcd ,
blush.
Africa, pr. M. /., Africa.
aEcicano, adj., iVfrican.
agave, /., agave or maguey
(plant /ram which "pulque"
Bgitar, to agitate, stir, ^huke;
refi. to stir, be uneasy;
move, throng.
agolpar, to beap up, gather.
agottia,/., agony; deatb strug-
gle.
agonizante, adj., in the throes
of death, dying.
agora, adv., now {arch, and
poetic far ahora).
agOEtar, to parch, wither.
agotar, to exhaust.
agradabletnente, adv., agree-
ably, in a pleasing manner.
agradar, to please, gratify,
agradecer, to be grateful [lo
one for something^.
agradecido, p. p., grateful.
agreste, adj., wild, rude.
Bgricultura, /., agriculture,
agna, /., water.
aguaeero, in., shower, down-
agtiardar, Ir. lo await, wait
for; intr. to wait,
agudo, adj., sharp.
aguijfin, m., prick, spur, goad.
V0CAEUL.4KY
0 Sight.
figuila, !.. eagle; aguila caudal,
Aguilera, pr. n.
lahl interj., ah!
aM, adv., there,
ahogai, to throttle, choke,
stifle,
ahora, adv., now.
ahuyentar, to put 1
airado, adj., angry.
aire, «i,, air, wind, breeze.
airfin, m., crest, plume.
aiiOED, adj., airy.
aislamiento, m., isolation.
Aja, fr. «./.
ajeno, adj., another's, foreign;
ajeno S, Ignorant of; aji
de, void of, free from.
ajustar, to adapt, make c
ala, /,, wing.
AU, pr. n. m., Allah.
alabar, to praise.
alabarda, /,, halberd.
alado, p. p., winged.
alamar, m., frog and bratd
trimming,
alameda, /,, promenade bor-
dered by trees.
filamo, m,, poplar.
alancear, to spear-
AlarcCn, pr. n.
alarde, m.; hacer
boast.
^
•^
VOCABULARY 329
•husar, to lengthen, prolong*
alcunaa./., lineage.
teach out, hand over.
Aldara, pr. n. }.
alarido, m., shout, cry, shriek.
aldeana,/., country girl, lass.
alalia, -asa, adj., sorrel.
alegrar, to gladden.
■ IftTanrt = fllazftn.
alegre, adj., happy, glad,
alba,/., dawn, morning light.
merry, light-hearted.
alberca,/., pool, reservoir.
alegiia, /., joy, gladness,
albo, adj., white {as alabaster).
pleasure.
albor, m., dawn; infancy.
Alejandro, pr. n. m., Alexan-
alborada, /., dawn of day;
der {the Great [B.C. 356-
serenade at dawn.
32i], king of Macedonia, and
alboroto, m., tumult.
conqueror of much 0/ south-
alborozarse, to make merry.
Vfeslern Asia. He was a
alborozo, m., gaiely, merri-
ireai getteral, with a far-
reaching ambition for con-
Alcabfln, pr. n. (0 village near
quest. He was also 0 great
Toledo).
organizer and statesman, but
1
alcadt, m., ( = cadf), Moorish
unscrupulous).
1
judge, magistrate.
alejarse, to depart, separate
alcaide, m., governor (0/
oneself.
0 castle).
AlemaniB, pr. n.f., Germany.
alcalde, m., mayor.
alentor, to stimulate, ani-
alcanfor, m., camphor.
mate; foster, cherish.
alcanzar, to attain to, reach,
aletear, to flit.
overtake; gain, obtain; al-
aleve, adj., treacherous.
i
canzar i hacer, succeed in
alevosla, /., perfidy.
doine.
aleTOGO, adj., treacherous.
AIcania,/.r, n.(a«o«n(u/«oM.(
alfabeto, m., alphabet.
dislricl iti Ike province 0/
alfanje, m., cutlas, scimitar.
Guadalajara).
alfombra, /., carpet; surface
alcizar, m., castle, fortress.
(of a plain).
alcoba,/., bedroom.
alforja,/., saddle-hag.
AlcorcSn, pr. ,,. (a village 8
algaMTS, /., hubbub, shout-
mUes south 0/ Madrid).
ing.
1
330 VOCABULAKY ^^^^^^^|
alivio, HI., solace.
algoddn, m., colton, cotton-
AUxares, pr. n. m. pi. (The
plant; wad of cotton.
palace of the Alizares stood
Alhambra, pr. n. }. (the beau-
formerly near the present
ti/ui Moorish palace buM
cemetery of Granada, to the
on an etcvaled plateau Ikat
soHlheast of the Alhambra.)
overlooks the city 0} Gra-
alma, / , soul; dear one; del
nada).
alma, dear.
All, pr. „. «..
Alraanzor, pr. n. m.
alianza,/., alliance.
almena, / , merlon (of a bal-
Aliatar, pr. n. m.
llemenl).
aliento, m., breath, spirit; p!.
almendra, /., almond; al-
vigor; dar aliento ft, to
mendra de cacao, cocoa
blow.
bean
Bllgero, adj., winged.
almete, m., helmet.
alimofla, /., beast.
almfbai, m., syrup; sweetness.
Alimeafin, pr. n. m. (Alime-
almo, adj., kindly, holy; cre-
11611 [written also Almen6n|,
ative, fostering.
Moorish king of Toledo in
almobada, /., pillow.
the middle of the eleventh
Almonacid, i<r. ». (There are
century. He received and
several Spanish villages with
protected Alfonso [afUr
this name. The one men-
wards Alfonso VI of Castile
tioned in" Fiesta dcToros."
and Le6n] when the latter
p. 27, /. 6, is in Alcarria.)
fkdfrom his brother Sancho.
Almudemi, pr. n.f. (an Ara-
Alfonso VI took Toledo
bic Tiiord denoting a public
from Cadir, the son of AH-
house where grain is bought ;
men6n, in 1085, and made
and sold . . . The present
Cadir the nominal king of
Valencia, but subjea to
Almudena in Madrid stands \
Castile and LeSn).
near the site of the ancient
■Umento, m., food.
church of the Virgin of the
bUbo, m., alder.
Almudena, which was made
aliviar, to relieve, lighten.
into a Christian church from
■'
'
VOCABULARY 33 I
lop; inir. to rise; refi. to be
captured Madrid in 1083.
raised, rise, appear.
The tttrret on the wall, to
aM, adv., there; mis alU,
which Moratin refers [p. 33,
farther on.
Hne 6] may have been en or
aUf, adv., there, then ; por alU,
near the siU of the church of
that way; alU mismo, on
the A!mude«a.)
the very spot.
aloJHT, to lodge, give lodging
amable, adj., pleasing, de-
to.
hghtful.
Alpes, pr, n. m. pi., Alps.
amado, -a, m. and /., loved
one.
about, around.
amador, m., lover, suitor.
altanero, adj., haughty,
amBinar, to die down, soften
proud.
(of wind).
altar, m., altar.
amaute, adj., loving; of
alterar, to change, disturb;
lovers; n. m., lover, suitor.
refi. to be confused, ex-
amapok, /., poppy.
cited.
altiTO, adj., proud, arrogant;
amargo, adj., bitter.
lofty.
amargura, /., bitterness, sot-
alto, adj., high, tall, lofty;
row.
eminent; toud; fi lo alto.
anuuillo, adj., yellow; livid.
on high; de lo alto, from
amarrar, to fasten, lash.
aloft; n. m,, height, eleva-
tion.
'unbar, m., amber; guante de
(unhar, amber-colored
altura, /., height, summit; pi.
glove.
heavens.
ambicifin, /., ambition.
alumbrar, Ir. to light, illu-
fimbito, m., space, room.
^
minate; inlT. lo shed light.
ambos, -as, adj. and pron., J
alumno, m., disciple.
both; ambos fi dos, both. 1
^^1
alzado, p. p., lofty, arrogant,
ambrosia,/., ambrosia; {loose- fl
■
powerful.
/>■) perfume. 1
■
alzar, Ir. to raise, hotat; alzar
amedrentar, to frighten. ■
el gfllope, lo take a gal-
amenaza, /., threat. ^1
332 voc.4BUL.uey ^^^^^^^|
0/ sotdtern Sp*if wtKd 1
ameno, adj., pleasant, de-
compriset the prtmnces of
lightful.
Granada. AimerUi, Mdlaga,
America, pr. «./., .A.merica.
Cddis, Btulva, SenUa, CSr-
amigo, adj., friendly; n. m.
doba and Jain).
anrf/., friend, lover.
andalnz, -la, adj., Andalu-
amistad, /-, friendship.
sian.
amoDtonarse, to be piled up.
andar, to go, move, walk; be;
amor, m,, love; Cupid; object
S mis andar, at full speed.
of love, loved one; pi.
andas,/. pi., litter, bier.
amours, lo\'e-affairs.
Ande, Andes, pr. n. «. sing.;
amoroso, adj., loving.
Andes, pr. n. m. pi.. Andes
amorteddo, adj., drowsy.
(the greitl mountain chain of
amparar, to protect.
South America, closely fol-
amparo, m., protection.
lowing the Pacific Coast).
Aaacreonte, pr. n. m., Ajia-
fingel, ™., angel.
- creon (a Greek lyric poel
angelito, m,, little angel.
[561-476? B.C.]; he ja«g
fingulo, «., comer.
chUjly Ike praise of wine and
angastia, /., anguish. '
km).
angustiado, adj., anguished, 1
AnShuac, pr. n. {Nahuallan
distressed. 1
name 0} the elemted central
angustioso, adj., full of an- '
plateau of Mexico).
guish.
ananfis, m., (=anana) pine-
apple.
ing, gasping, sobbing.
anlielar, to pant.
anciano, adj., old, aged.
anhelo, w., desire, yearning. ,
ancla,/., anchor.
anidar, to nestle, dwell.
anclar, to anchor.
anillo, m., ring.
ancho, adj., broad, wide.
Anima,/., soul; pi. ringing of
ample.
church-bells as a signal for ,
anchuroso, adj., spacious,
prayer in behalf of the souls 1
broad.
in purgatory. '
Audalucfa, pr. 11. /., [Iha! part
i
animacifin, /., animation. i
f^
^
VOCABULARY 333
anlnul, m., animal.
alio, m. year.
animalejo, m., liltJe beast.
apacible, adj., gentle, peace-
ful.
liven; refi. to recover vigor
Of spirit, receive life; feel
apagar, to extinguish, de-
encouraged.
stroy.
Hn'mo, Bi., courage;, mind,
Bpaiecer, {aho rejl.) to ap-
thought.
pear, come into view.
aniversaiio, m., anniversary.
apariciQn, /., apparition.
anochecer, to grow dark; al
aparta'do, p. p., far apart; far
distant.
anfinimo, adj., anonymous.
apartamiento, m., separation.
ansia, /., anguish, anxiety;
estrangement.
pi. longing, eagerness.
aparte, adv., aside, apart.
ansiar, to long, yearn.
apasionado, adj., passionate.
ansioso, ad}-, anxious.
ante, prep., before.
apenas, adu., barely.
ante, m., buckskin, chamois.
apercibido, p. p., prepared.
antecimara, /., antechamber.
provided.
antediluviano, adj., antedilu-
vian.
apero, m., farm implement.
apiilado, p. p., close together;
antena, /., yard.
pyramidal.
antes, adv., before, formerly;
apiflar, to join together,
rather.
cluster.
antesala,/., antechamber.
aplacar, to appease.
antiguo, adj., ancient, old.
aplicar, to apply.
Antnias, pr. n.J. pi., Antilles
apocar, to cramp, confine.
{the West India hlands).
antoroha,/., taper, torch.
(of).
aporrear, to beat, maul.
claim.
aportar, to make port, ar-
afiadir, to add.
rive.
aitafll, m., Moorish trumpet.
aflil, m., indigo-plant.
J
334 VOCABULARY ^^^^^^^|
apostu, to post.
Araraca. pr. ». (o •^a«*<^^|
md„ from Madrid). ^^H
pearaocc, adornment.
arbinio. m., wiU, judgmcnt^^^H
■poytu-. to rest, support.
irbitn, m., arbiter. ^^^|
Bprender, to learn.
bbol, m-. ^H
^irestar, to make ready.
arbusto, m., shrub, busb. ^^^|
■presuTBT, to hasten; Tefl. to
arcingd. »>., archangel. ^^^^|
make haste.
arcana, m., secret. ^^^|
^iretar, to press, grasp.
area, m., arch; bo«. ^^H
aprisioiiar, to confine.
arder, to bum, grow Ixi^^^H
^H
probation.
ardiente, adj.. burning, ^oi^^H
■pueato, adj., elegant, attrac-
ing, hot; passionate, feve^^^H
tive.
^^H
ApariniA or Apurfmac, ft. n.
ardor, m., ardor, impetuosity.
{jher and deparlrmnl of
ardoroso, adj., ardent, pas-
F^u).
sionate.
■quejar, to afflict, torment.
arduo, adj., arduous, difficult- ^^^
■quese, -a, -O, that {arch, for
arena, /., sand; arena. ^^H
esej.
areooso, adj., sandy. ^^1
aqtieste, -a., -o, this (arch, for
eate).
ArgentJna, pr. n., Argentine ^^
aqnf, adt., here; this point.
((*e Argentine Republic;
next to BrazU tht largest
come still.
state in South America, the
aquilfin, tn., north wind.
total area being 1,114,000
Aquino, pr. n., Aquinum (in
square miles [tvo-fifths of
Italy; ike birthplace of Ju-
that of the United States].
venal).
Unlike the other Spanish-
iiabe, m., Arab.
American countries, most of
anbeBco, adj., Arabic; n. m..
Argentine is a broad plain
arabesque.
gently rising from the ocean
arado, p. p., furrowed; n. m..
toward the Andes. The d^^^^t
plow.
male of central ArgttOi^^^^
^^^^
"7
^^^^^■^ VOCABULARY 335
is UmperaU. Popidalion,
grctom to the bride at the
aboiU 7,000,000, of whom
wedding; dowry.
only about 25,000 are In-
dians. Buenos Aires, the
along, sweep away; reji.
capital, h a beaulifiU city
to crawl.
of somt one million inhabi-
urebatado, f: p., violent.
tants).
rapid, impetuous.
argolla, /., iron collar.
arrebatar, to carry away,
■rgflir, to infer.
snatch, catch up.
■nna, /., weapon, arm, arms.
airedflT, to increase in in-
annar, to arm; set; umar
tensity.
cabBllero, knight.
arreo, m., adornment, deco-
■rmifii), m., ermine.
ration, dress.
■rmonla, /., harmony; music.
anepeotido, p. p., repentant.
HimDnJosD, adj., harmcmi-
AnuUdoo, pr. n. m.
arriba, adv., up, upward,
amis, m., armor.
above.
Amesto, pr. n. n.
Amo, pr. n. {one of the largest
bliss.
rivers in Italy, rising in
arrojar, to fling, hurl, cast.
Ike Apennines. It passes
cast up; reJI. to rush, cast
Virough Florence and enters
oneself.
the Mediterranean near
arrojo, m., daring.
Pisa.)
arropar, to drape, cover.
■roma, bi., perfume, fra-
arroyada, /., channel of a
grance.
brook.
arpa,/., harp.
aiTOyo, m., rivulet, stream.
Hrp6n, nt., harpoon, barb.
arruga, /., wrinkle.
urancor, to tear out, pluck
BJTuUador, -ra, aJj., lulling.
out, draw out, tear away;
soothing.
^K airancar del pecho, utter.
amillar, tr. to lull to sleep.
^KwrsE,/. pi., a sum of .3 gold
soothe; inlr. to coo.
^^V --■-- given by the bride-
amillo, m., lullaby.
I
,
336 VOCABCLASY ^^^^^^^H
arte, m. and f., art, skill; de-
to show oneself al. appear
iice; uade.
at, tome to.
aiz6a, M.. saddle-bow.
ualto, m., attack.
wonder.
asedunza, /., ambuscade,
Bsombro, m., amazement,
ambush, snare.
wonder.
ssegunulo, p. p.. assured,
asombroso, aJj., mar\elous,
made safe; asegurado de
wonderful.
que, assured against.
asordai, to deafen.
Aspero, adj., rough, rude.
oneself in safety.
cruel.
asemej&i^e (4), to resem-
aspiracifin,/., aspiration.
ble.
aspirar, to aspire.
asentado, p. p., seated.
asqueroso, adj., filthy, dis-
aseo, m., neatness.
gusting.
asesinor, to murder.
astro, m., heavenly body, orb.
aaedno, m., assassin.
sstuto, adj., crafty.
OBl, adv., thus, so; also; of
asunto, m., aSair.
such sort.
atabal, m., small drum.
Aaifl,pr. n./., Asia.
atajar, to stop, cut short.
asido, ^ p., attached.
atalaya, /., watch-tower.
asiento, m., seat; dwelling-
atar, to tie, bind.
place.
atarazado, p. p., wounded.
asilo, m., refuge, retreat; pro-
torn.
tection.
asir, to seize; reJI. mth 4, to
atender, Ir. to notice, heed;
seize, clutch.
inlr. to wait.
ssistente, m., assistant; one
atenido, p. p., subject.
present.
atentamente, arfi., attentive-
ly, closely.
asoladfin, /., sack, plunder.
atento, adj., attentive, watch-
asolar, to desolate, pillage.
ful. 1
aBomar, to begin to appear,
aterrador, -ra, adj., terrible, 1
appear, peep; reJI. wiili 4,
m
dreadful. J
"1
VOCABULARY 337
Kterrar, to terrify, appal.
alrevido, p.p., bold.
AtOa, pr. n. m., AlUla (king
atrevimiento, m., audacity.
of Ike Huns, who devastated
insolence.
eastern Europe in the jijth
atribtUar, to afflict.
■
cenlury).
etributo, m., attribute.
'
■tisbar, to watch.
atrocidad, /., atrocity.
atizai, to incite.
atron&r, to stun, stupefy {with
Atlante, pr. n. m., Atliia; mar
a loud noise); ihundEi in..
Atlante, Atlantic ocean.
atropellar, to trample under
Bflintico. adj., Atlantic.
foot, knock down.
AtUntida, pr. n. /., Atlantis
atroi;, adj., cruel.
(the sunken continent which.
atuiTullar, to confuse, be-
according to legend, onct ex-
wilder.
isted in the Atlantic ocean.
atusar, to trim, comb.
It is first menlioned in liter-
audacia,/., boldness, daring.
ature by Plato in the " Ti-
AudaUa, pr. n. m.
eioeus," and again in Ike
audaz, adj., bold, audacious.
" Crilias." According to
augusto, adj., august, ma-
Plata, AUanlis was inhab-
jestic, solemn.
ited nine thousand years be-
aim, atin, adv., yet, neverthe-
fore by a fowerfnl nation
less, still, even.
aimque, conj., although.
were able to resist. It had
aura, /., breeze; auia popu-
finally been engulfed by the
lar, popularity.
ocean).
iureo, adj., golden.
n&ioBlsra, j.| atnLOsphcre.
aurora, /., dawn.
■tteito, adj., amazed, per-
ftusencia, /., absence.
turbed
ausentarse, to be absent.
atormentai, to torment.
ausente, adj., absent.
1
atiaer, to attract.
austeiidad, /,, austerity.
atrfts, adv., backward.
auGtero, adj., severe, austere.
atravesai, to go tlirough, pen-
austro, m., south wind,
auto, m., writ, decree; pi. doc-
atreverse, to dare, venture.
uments {in a lawsuit).
M
1
338 VOCABULARY
entor, m., author; cause.
finally overthrown by the
avadar, to become low enough
Spaniards under Cortis in
to iord.
i$li. The civUizalioH of
avanzar, to advance.
ancient Mexico seems to
avftsallar, to subdue, enslave.
liave preceded the Aztecs, and
aye, /., bird.
was probably developed by
avecica,aYecilla,/., little bird.
the Mayas in southern
Mexico and Nicaragua and
by the Toltecs in Central and
free lance.
northern Mexico); golfo az-
averao, m., hell.
teca, gulf of Mexico.
avezado, p. p., accustomed.
azucemi,/., (white) lily.
fivido, adj., eager.
aiufre, m., sulphur.
Avila, pT. n. (a mountain near
azul. adj-, blue, azure.
Caracas, Venezuela).
azulado, adj., azure.
arisar, to warn, admonish,
advise.
_
aviso, «., notice, warning.
layl itUerj., alas! jay del
Babieca, pr. «. m. (o famous
alas for!; n. m., groan.
horse of the Cid).
ayer, adv., yesterday.
Baco, pr. n. m., Bacchus {or
ayudar, to aid, assist, help.
Dionysus, in Greek myth-
azahar, m., orange-blossoms.
ology; a god of vegetation and
azar, m., disaster, disappoint-
the vine).
ment; hazard, chance.
bailor, to dance.
azorar, to terrify.
Bailen, pr. n. (u Spanish lovm
azotar, to lash.
in the province of Jain, 1
azteca, adj. and ii., Aztec (a
where Ihe French troofs sur-
race that came inla central
rendered to the Spanish in
Mexico from Ike north prob-
July, i8o8, in the Penin- ,
ably ahowl looo A.D.; U
sular War). 1
paduaUy conquered Ike
bajada, /., descent.
^^. country and established the
bajar, tr. to lower; intr. to fall,
^H 1 Mexican empire, which was
settle tiown; descend.
1
VOCABULARY 339
bajel, m., sh[p, vessel.
basflica, /., basilica (buUding
bajfo, m., shoal.
for public meeting! or re-
ha jo, adj., low, base; subdued;
ligious services). '
prep., under; por bajo, be-
bastar, to suffice, be enough.
neath.
bastfin, m.. cane, stick; staff.
bala,/., ball, bullet.
wand.
balbudente, adj., slammer-
basura, /., ordure, filth.
iag.
batahola,/., hubbub.
b>]c6ii, m., baJcony.
batalla,/., battle.
balde, m.; en balde, in vain.
batir, to beat, strike, dash,
baldSn, m., reproach, insult.
clap; batir laa palmas, clap
bals&inico, adj., balmy.
the hands.
balleBtcro, m., crossbowman.
bajdlla^vajilla.
baiuao, m., banana- tree.
bayamSs, -esa,adj., native of
bandtt, /., sash, scarf; side (0/
Bsyamo.
a skip); border, edge.
Bayamo, pr. n. (0 city near
baadada, /., flock, covey.
Sanliago de Cuba, promi-
bandera, /., banner, flag.
nent in Ihe revolution of
bandido, m., bandit.
1868).
bando, m., party, faction.
beber, to drink.
baflar, to bathe.
Belcebfl, pr. n. m., Beelzebub.
bafio, m., bath.
beldad,/., beauty.
baratar, to barter.
Bel6n, pr. 11., Bethlehem.
baimto, m., bargain; al barato,
beleflo, m., henbane, poison.
cheap.
belfo, adj., thick (of tips).
barba, /., beard.
belico, adj., warlike, martial.
bfirbaro, adj., barbarous,
belicoBO, adj., warlike. ,;;
cruel.
belleza, /., beauty. '
borcelongs, -esa, adj., of
beUo, adj.. beautiful, fair.
■ Barcelona.
Benalguacil, pr. 11. ni.
barco, m., boat, vessd.
Benavente, pr. n.
barqiiichuelo, m., small boat.
bendedr (p. p. bendito and I
bairoTB, /., barrier.
bendecido), to bless, praise.
base, /., base, foundation.
ben^fico, adj., charitable.
34°
VOCABULARY
benigno, adj., kind, gracious.
berganUn, m., brig (lao-
masled Square-rigged tenel).
bermejo, adj., bright icd;
Torres Bermejaa, Ihe Ver-
milion Towers (« farlrcss
sotUkwest oj Ike Albambra
and near Ihe cily of Granada;
so called from the reddish
stone of which it is built. It
is notv 'used as a military
prison).
Bernardo, pr. n. m., Bernard;
Bemoido del Caipio {ac-
cording to tradition, an ille-
gitimate son of a Conde de
Saldafia and Jimena., sister
of Alfonso el Casto, king of
Aslurias, in the eighth cen-
tury. In legend, Bernardo
del Carpio has came to he
the Spanish adversary of the
French Roland, and there-
fore the victor at the battle
of Roncesvalles) .
besar, to kiss,
beso, m., kiss.
Betis, pr. n. ( = Guedalquiytr,
a river which floics through
Cordova and Seville).
Biblia,/., Bible.
bien, adv., well; bien como,
just like; t bien . . . d bien,
either ... or else; «. m..
good, welfare, blessing;
haya, hail to.
bieaquisto, adj., generally eS'
teemed, liked.
bienvenido, p. p., welcome,
bigote, m., mustache.
birrete, m., cap,
birret6a, m., large cap.
Bivar, pr. n. (a village 6 miUs
north of Burgos).
bizantino, adj., Byzanl
blzarrla, /., gallantry
bizarro, adj., gallant.
bUnco, adj., white,
blandamente, adv., »
blandir, to brandish.
blando, adj., soft, pleasioj
mild, smooth,
blanquear, to show white.'
blasfeniar, to blaspheme.
Blasillo, pr. n. m.
blasSn, m., one of the figures
itine^^^H
jleaaifi^^^^
t of a
; blaz
. glory; pi. coat o£ arms,
boca, /., mouth, lips,
boda, /. (also pi.), wedding,
nuptials.
Bolivar, pr. n. (Simdn BoUvar
y Ponte [1783-1830!, el
Libertador; born at Caracas,
Venezuela, of noble parents;
was leader of the norHtern
^^P^^V VOCABULARY 34 1
^^K firmrittces of South America
with Henry IV [i5S3-tf>'o\
^P in Ihiir slruggle for inde-
and ended wUh Louis Pki-
^ fendtncefrom Spain, which
lippein 1&4S. The Spanish
began witk the insurrection
Bourbon dynasty began with
of Caracas in 1810 and
Philip, duke of A njou [ 1 683-
ended successfutty with the
1746I, 0 grandson of Louis
evacuation of Callao by Ike
XIV of France, who as-
Spaniards ittiS26. Bolfvai
cended the Spanish throne
was the first president of the
as Philip V in 1700. The
region then known as Co-
present king of Spain, Al-
lombia, which is now divided
fonso XllI, is a Bourbon.
into Venezuela, Colombia,
Charles Bourbon [1489-
Panamd and Ecuador).
Brtivia, pr. n. (a South- A mer-
and ConslabU of France,
ican republic named after
being ill-treated by Francis
Bolivar; area about 515.000
I, ting of France, offered
square miles; population
Ms services lo Charles V of
about i,it>o,ooo. The cop-
Spain, and helped the Span-
'1
ilot, Sucre, is 8840 feet
iards lo defeat the French at
aboze sea-level. Bolivia lost
Paviain 1535).
its seaboard lo Chile in the
bordado, m., embroidery.
war of .876).
bordar, to embroider; bor-
der.
bonanza,/., fair weather.
borde, m., edge; border.
bondad, /., goodness, kindli-
ness.
bflreas, m., Boreas (the North •
Wind).
borgoaCn, -ona, adj., Burgun-
boneto, m., cap.
diao; 5 la borgoilona, in the
BofbSn, pr. n., Bourbon (0
Rurgitndian manner.
noble family of France, rep-
borlfin, B!., tassel.
resenlalives of which occu-
bonar, to erase, blot out, ef-
^^l pied several thrones in Eu-
face; mal boirado, ill-con-
^^k rope after the ibth century.
cealed.
^V The dynasty in France began
borrasca,/., tempest, storm.
1
^2 VOCABULA£Y ^^^H
borrascoso, ndj., lempeatu-
tuguese is spoken in Brazil,
ous, stormy.
while in all Ike other Amer-
borran, m., blot.
ican republics south of the
bosque, m., wood, forest.
United Stales Spanish is
bostezar, to yawn.
spoken).
bota, /., boot.
bravlo. adj., wild, untamed.
bote, m., boat, skiff.
bravo, adj., brave; powerful.
bot6n, m.. bud.
bravura, /., ferocity.
bCveda, /., arch, vault.
brozo, nt., arm.
Boyacfi, pr. n. {town and
breve, adj., brief, short.
department, in Calombia.
breviario, m., breviary.
Near Ike town of Beyacd.
brida,/., bridle-rein.
7500 feet above sea-level.
bridfin, m., steed.
the Spanish Americans de-
brillador,-ra, adj., brilliant.
feated ike Spaniards in
brillante, adj., brilliant, bright.
i8ig).
radiant.
bramador, -ra, adj., roaring.
briUar, to shine, glisten, glit-
bramar, to roar; bluster,
ter.
storm.
brillo, m., gleam, brilliance,
bramido, m., howl; roaring.
lustre.
BraBil, pr. «., Brazil ( United
brindar, to offer.
States of Brazil, a republic of
brinquUio, m., trinket, orna-
South America that is larger
ment.
than the United States of
brio, m., spirit, vigor.
America excluding Alaska;
brioso, adj., spirited, mettle-
area, about 3,110,000 square
some.
miles; population, aboid
brisa,/., breeze.
31,000,000, of whom not
brocado, m., brocade.
more than one-half are pare
broma, /., joke, jest.
European stock. The cap-
bronce, m., brass; cannon.
^^ itai, Rio de Janeiro, is a
brotar, tr. to put forth; intr.
^^^^k picturesque city and impor-
to issue, gush forth; bud.
^^^L tant seaport, iiilh some
bruja, /., witch.
^^^H 1,000,000 inhabilants. Por-
bruina,/., mist, haze, ■
1
VOCABULARY 343
bniBCO. adj., rude.
ing, astride; 11. m., knight,
brutal, adj., brutal, brute.
cavalier, gentleman.
bruto, m., brute, beast, animal.
caballo, m., horse; fi caballo,
bueno, adj., good, kind.
on horseback.
bufar, to snort, blow.
cabafla, /., hut, cottage.
buf6n, m., buffoon, coarse
eabellera,/., hair, tresses.
jester.
cabeUo, m-, hair (0/ (fa- head).
bubo, m., owL
caber, to fall to {the lot of);
biiitre, «j., vulture.
he contained.
bulto, fli., bulk, mass; dim form.
Cabeza, /., head.
bulla, /., bustle, racket.
cable, IB., cable.
buUido, m., bustle, tumult.
cabo, m., extremity, end;
buUicioso, adj., lively.
bottom; al cabo, at last, In
buUir, to move, stir.
the end; pi. mane and tail
buqiie, m., vessel, ship.
(of a horse).
Burgos, pr. n. (alown in north-
Cachemira, pr. n.. Cashmere.
ern-cenira! Spain; pofiu-
cachorro, m., whelp, cub.
kUion, about jo,ooo; one-
cachucha, /., cap; a popular
time capital of old Castile,
Andaluslan dance.
and famous as Ike home
cochuchero, m., cap-maker.
tovmoflhe Cid).
cachuchJta, dim. of cachucba.
buriar, to mock, deceive, dis-
cada, adj., each, every; cada
appoint; rejl. with de, to
cual, each one; cada cual
laugh at, make sport of.
mds hennosa, vying with
evade.
each other in beauty.
burro, m., donkey.
cadalEO, m., scaffold.
busca./., search, pursuit.
cadftver, m., corpse, dead
buEcar, to seek, seek for.
body.
■
cadena, /., chain.
cadera, /., hip, thigh.
caer, to fall, droop; set (of Ike
' eaba]Badura,/.,ridinganima1,
sun).
horse.
caldo, p. p., fallen, down-
cabaUero, adj. {with en), rid-
cast.
1
344 VOCABULAEV
calftdo, p. p., perforated, tra-
camalote, m., an aquatic plant
ceried; pressed down (oj u
which floats on the surface
hat).
of the water.
calandria, /., calendar lark.
cimara, /., hall, chamber.
Calatrava, pr. n. (a religious
cambiar, to change.
and mililary order in Spain,
cambio, m., exchange.
founded in 1158).
cambrfin, w., bramble.
CalderCn, pr. n., Calderon
CambrOn; Puerta del Cam-
(ifE note lo p. 18).
brSn (u gale in Ihe northwest
calentuiiento, adj., feverish.
wall of the city of Toledo,
caliente, adj., warm, hot.
buil! by Alfonso VI in 1102
cfiliz, m., calyx.
and restored in 1576).
colma, /., calm, quiet; en
caminante, m., traveler.
caima, calm.
caminar, to travel, ttiove.
calmar, to calm, stilt, quiet.
camino, m., way, road, path;
color, m. {and arch. J.), heat,
camino de Valencia, on the
warmth.
road to Valencia.
calunmia, f., calumnj', slan-
campana, /., bell.
der.
campanario, m., bell-tower,
calzas, /. p\.. breeches, trou-
belfry.
sers.
cainpafla, /., campaign.
calzar, to put on, wear {hools
campesino, adj., rustic, rural.
or spurs).
campiQa, /., field, champaign.
callado, p. p., silent.
campo, m., field, battlefield;
callar, tr. to hush, still; callar
country (111 opposed lo city).
fi, keep secret from; intr. to
can, m., dog, canine.
be silent, keep silence.
canalla,/., mob, rabble.
calle, /., street, lane; jcaUel
canciCn, /., song.
make way! hacer calle, to
candelilla, /.. candle.
make way.
cfindldo, adj., candid, guile-
\ callejuela, /., narrow street,
less; white.
1 lane, alley.
caador, m.. candor, ingenu-
camH,/„bed, couch.
ousness, purity.
camafeo, m., cameo.
cano, adj., while, hoary.
-
1
J
^^^^^ VOCA6UIARY 345
^F eonsado, p. p., weary, tired;
carcelera, /., woman jailer,
^m tedious, wearisome.
jailer's wife.
^1 cansor, to tire, weary; rcji. to
carcelero, m., jailer.
^H become tired.
carga,/., burden; cargo.
H cantar, m., song.
cargado, p. p., laden, loaded;
^r cantar, Ir. to sing, sing of;
overhung.
intr. to sing.
caigar, Ir. to load, weigh
duitico, m., canticle, song of
down; inlr. (v'ilk con) to
praise.
take up (0 load).
cantilena, /., short piece of
■ verse, generally intended
dignity.
■ tobes„g.
caricia, /,, caress.
■ canto, nt., song, singing;
carifio, m., love, aSection.
■ stone, pebble.
carifloso, adj., afleclionate.
H cantor, -ra, adj., singing; a.
loving.
^M m. and}., singer.
Carlos, pr. n. m., Charles;
H cafla, /., reed, cane, sugar-
Carios Quinto, Charles ihe
■ cane; walking-alick, cane.
Fifth ([1500-1558], i««l -/
■ caflfiQ, m., cannon.
Spain and emperor of Iht
■ caos, m., chaos.
Holy Roman Empire).
■^ capa,/., lioak, cape.
Carmen, pr. 11. m., order of
capaa, adj., capacious.
monks and of nuns (Ibat
capelo, m., priest's hat.
takes its nanu from Hi.
capllla./., chapel.
Carmel, in Palestine. The
capitfin, m., captain.
Vifiin Mary is said to have
Ciq)ricIlO, m., fancy; fanciful
revealed Ihe scapular which
design.
became a distinctive mark oj
capridioso, adj., fanciful.
the order).
^^ cara,/., face; hacer cara fi, to
caimin, m., carmine {the col-
^H confront.
orim mailer 0} coMnMl).
^Hmracol, m., shell trumpet.
comaval, m., carnival.
^B conch.
came, /., flesh.
^^ carcajada, /., burst of laugh-
camicero, adj., carniverous;
^1
bloodthirsty.
1
346 VOCABULARY
carnoso, adj., fleshy.
thi peninsula; the latter ex-
caro, adj.. dear.
tends from New Castile
caireni, /,, course, running.
north to the coast).
carro, m., car, chariot.
Castillo, m., castle, fortress.
Cartaeena, pr. ». (a seaport
casto, adj., chaste.
on the southeast coast of
catadura,/., face.
Spain.)
catjstrofe, /., catastrophe.
caitfin, m., pasteboard, card-
catodral,/., cathedral.
board; papier-m^ch£.
caterva, /., throng, crowd,
casa, /., house.
multitude.
casar, to marry, give in mar-
catOlico, m.. Catholic.
riage; inlr. and refi. wilk
Cauca, pr. n. (a river in Co-
con, to marry.
lombia, South America, the
cascada, /., cascade, water-
chief tributary of the Mag-
fall.
dalena).
cascado, p. p., broken, infirm.
CiucBBO, pr. «., Caucasus (a
casco, m., helmet.
mountain range forming
casi, adv., almost, neariy.
part of the boundary be-
caso, m., case, event; por
iTveen Europe and Asia).
CEtEO, perchance.
caudal; figuila caudal, long-
casta,/., breed.
tailed eagle, royal eagle.
castofiueU, /., <rastanet.
rying much water.
castigo, m., punishment.
caudillo, m., leader, com-
Castilla, fir. n., Castile (for-
mander, chief, head.
merly a kingdom in nortk-
causa,/., cause; por su causa,
ern-central Spain, that in
on his account.
time absorbed the other
causar, to cause.
Christian Spanish king-
catitivo, adj., captive, j
doms. To-day there are
cayerua,/., cavern, cave.
two regions of this name in
cayemoso, adj., cavernous.
Spain, knoivn as JVm Cas-
cayado, m., stail. 1
tile and Old Castile. The
caza,/., chase, hunt, hunting,
former lies in the center of
h
fowling; game,
J
W r- ■■'
censura, /., censure, repri-
^1 hunter.
mand.
•J Mzu, to hunt, go fowling.
centella, /., lightning-fiash;
ceder, to yield, give up.
spark.
Cedro, m., cedar.
centellante, adj., sparkling,
ceflro, m., zephyr, breeze.
flashing.
cegar, to blind.
centelUr, to sparkle, flash,
ceja, /., eyebrow.
twinkle.
celada, /., helmet.
ceUje, m., appearance of the
flashing.
sky when covered by light
centelleo, m., scintillation,
clouds of many colors; va-
twinkling.
riegation.
centineU, m., sentinel, sentry.
celar, to watch over; con-
Centro, m., center; natural en-
ceal.
vironment, place of origin.
celebrar, to celebrate.
ceilir, to gird on, fasten on,
celeste, adj., heavenly, ce-
girdle, wreathe.
lestial.
ceHo, m., frown; supercilious
celestial, adj., heavenly, ce-
glance.
lestial.
ceiludo, adj., grim, travia-
celo, m. {usvd mostly in plu-
ing.
L rai), jealousy.
cerca, adv., near at hand.
BtooBta. /., Venetian blind,
close by; de cerca, near;
^^ lattice.
cerca de, prep., near.
celoso, adj., zealous; jealous.
cercanla, /,, neighborhood.
vicinity.
cena,/,, supper.
cercano, adj., near at hand.
cendal, m., sendal, silk gauze.
close.
l^^eDidento, adj., ash- colored,
cercar, to encircle, surround;
■[ ashen.
circle.
^E«alt, m., zenith.
cercenar, to lop off, cut oS,
^ CeniM, /., ashes, remains of
cerco, m., circlet, ring.
the dead.
cerdoso, adj., bristly.
censorlo, adj., critical.
1^
cerradura, /., lock.
348 VOCABULARY ^^^^^^
CM»r, tr. to shut, close; inlr.
indrpettdera chieftain near
mtk con, to close with, at-
Saragassa; finally he con-
tack.
quered Valencia, which he
cerro, m., hill.
held tilt his death. Be mar-
Cervantes, pr. n. (Miguel de
ried Jimena [Freitck Oa-
Cervantes Saavedra [1547-
niene[, daughter of the Count
i6i6|, the author oj "Don
of Oviedo, a lady closely re-
Quijote" and many other
lated to Alfonso Vt. Tra-
viorks, flW generally consid-
dition has made of ihe Cid
ered Ike most Javtous of all
a legetidary hero who per-
Spanish wrUers).
sonifies Christian Spain in
cervii, /., nape of the neck,
its struggles with the Moham-
neck.
medan Moors).
cesor, to cease, stop; sin
ciego, adj., blind.
cesar, incessantly, con-
CielO, m., sky, heaven, at-
stantly.
mosphere.
Ciaat, pr. n., Cffisar (GaiuB
ciencia, /., science; knowl-
Julius Caesar [B.C. 100-
edge; skill.
44], a Jamous Roman gen-
riena, m., mud, mire.
eral, statesman, and writer).
ciento, cien, one hundred.
cEsped, m., tuct, grass.
cieito, adj., certain, a certain;
cetro, fli., sceptre.
ser derto, to be true.
dd6peo, adj., (when in rime
ciervo, m., slag.
may be accented on the
cierzo, m., north wind.
penult) Cyclopean.
cifra, /., device, emblem.
Cid, pr. n. (Arabic sM, 'my
cifrar, to comprise; cifrar en.
lord'), Cid (Rodrigo [or
£s upon, make depend
Ruj] Dfaz de Bivar [or
upon; cifrar el empefio en,
Vivar]; born at Burgos, or at
fix one's desires upon.
the village 0/ Bhar near
cima, /., summit, top; por
^^ BitTgos; died al Valencia
cimas de, over.
^^^ in 1099. A Castilian, he
cimiento, m., foundation.
^^n fought for and against Cas-
cinta,/., ribbon.
^■1 tiU; for a Hme he was an
cintillo, w., hat-band.
VOCABULARY
drculor, adj., circling.
drculsr, to circulate.
circuudar, to
drcunscribir, to bound,
ilitio, m., large viax. candle
/., rendezvous, meeting.
'>(sudtid, /., city.
drcunsciil
Idiio, m., 1
(to, /., rei
dtar, to
(sudad, /.,
diidadano
ciril, adj.,
damar, tc
outcry.
dunor, n
■Ciril, adj., civil.
to shout, cry, i
, dar
tolling.
damoreo, ni., shrieking.
damoroEO, adj., noisy,
claramgnte, adv., clearly.
cUridad, /., light, splendor,
clailn, m., bugle.
daro, adj., dear, bright; pure;
cloister.
vm, to nail, fasten, stick in,
^r fix.
davd, m., pink,
davo, m., nail.
clemente, adj., mcrdful.
clgrigo, m., priest.
dima, nt., climate, dime.
Clori, pr. It./., Cloris.
Cobarde. adj., cowardly.
coca], m., grovi
cocodrilo, m., crocodile.
coche, m., coach, carriage.
codidoso, adj., greedy, cove-
tous, eager.
codo, m.p elbow.
cpger, to seize, capture, catch;
gather; lo cogido, the spoils.
cola, /., tail.
c61era, /., rage, anger.
coleto, m., buff doublet or
colgar, to hang, suspend.
coUna, /., hill, hillock.
colocar, to place, instal.
Colombia, pr. n. {the only
slate of South America that
lies OK bath the Atlantic and
Pacific Oceans; area, about
500,000 square miles; popu-
latiott, about 5,000,000; the
capital, Bagol(S,is &yoo Jeel
above sea-level and has a
mild, temperate climate.
The country was named after
Columbus).
Colombiano, adj., Colombi
ilombian. I
350 VOCIBULAKT ^^^^^^|
CoUo. pr. V rolurabus
como. adt.. how, as. Uke; as
(Christopher Columbus
if; ic6nio! bow! why!
(.446-1506), hotn mat
Genoa, ItaJy; wkilt in tie
consort.
tervia of Spain he iiscm- -
conqwlUa, /., companions,
trcd AmerUa in 1491).
company.
coloquio, m.. conversation.
companr, to compare.
color. «., color; complexion.
cotnpis, m.. rhythm.
ndondo, adj., red.
compasado. p. p.. rhythmic.
uAont, to color.
compasidD. /.. compassion,
coloul, adj., colossal, gigan-
pity.
tic.
COii^Mndiar. to condense.
Wrtunibrar, to see vaguely.
summarize.
distinguish.
complacencia, /., pleasure,
GolUdo, m., hill.
satisfaction.
collar, m., necklace.
complacer. to please, satisfy;
conurca, /., district, region.
reji. to take delight.
Combate, n., combat, battle.
completo, adj., complete.
complicado, p. p.. complei.
fighter.
combatir, tr. to combat, fight,
settle, adjust.
give battle, attack; stiain;
comportar, to suSer, endure.
intr. to fight.
comprar, to buy.
comedido, p. p., courteous,
comprender, to comprehend,
civil.
understand, know.
comentar, to (.omment. make
comprimir, to repress, bind.
comments.
comun, adj., common; de
comentariai, to make a tom-
Comlin, together.
mentary upon, gloss.
comuniSn,/,, communion, fel-
Ik
comenzar, to begin, com-
comiinmente, adv., usually.
1
comer, to eat, devour, con-
con, prep., with, by; con que,
so then, and so.
r
comitiva, /., retinue.
cCncavo, adj., hollow.
i
k
^^1
^^^r
^
•^ VOCABULAEV 351
coBcebir, to concede, create.
gether, heap together, con-
coflceder, to grant._
fuse, confound, mingle.
conccntrAr, to cODcentrcitf.
confusion, /., conlusioD, dis<
conciencia, /., conscience;
consciousness.
order; bewilderment.
COnfuso, adj., confused, dim.
concilio, m., council; assem-
indistinct.
ijL bly of bishops.
congojfl,/., anguish, distress.
■bnclDir, to conclude, com-
Googojar, to oppress, afflict.
jp7etc.
■■ condusi6ii, /., conclusion.
Conil, pr. n. {a lou'n in Ike
concurso, tn,, assembly, mul-
province 0/ Cadiz).
titude.
Concha, pr. n. /. {derivative of
cite.
ConcepciiSn^Maiia de la
conocer, (0 know, be or be-
ConcepciSn), Conception.
come acquainted with, rec-
conde, m., count.
ognize.
condenar, to condemn, doom.
conocimiento, m., conscious-
condestable, m., constable,
ness.
lord high constable.
conqoista, /., conquest.
condici6n, /., condition, slate.
Conducir, to convey, carry;
invader.
lead.
consagTM, to dedicate.
confesar, to confess.
conseja, /., story, tale.
confeEien, /., confession.
consejo, m., advice.
Gonfesor, m., confessor.
Consentir, to consent, admit.
confiai, to entrust; rejl. mth
suffer.
de, to put one's trust in.
conservar, to keep, preserve.
Gonfidente, ni., confidant, in-
considerar, to treat with re-
timate friend.
spect.
conffn, m., confine, border.
Consolacifin, /., consolation,
CODfonne, adj., similar, cor-
comfort.
responding.
coasolador, -ra, adj., consol-
ing, comforting.
and GonfuBo), to jumble to-
GonBolar, to comfort.
1
352 VOCABULARY ^^^H
constancU,/., constanry, per-
contrario, adj., hostile. ^^^^|
severance.
contrasts m., contrast. ^^^^^|
COnstante, adj.. firm, unalter-
convalecer, to recover, I^^^*
able, faithful.
cuperate.
convencer, to convince.
coQvenir, to suit, be fitting.
constemado, p. p., terrified,
converter, to convert, change;
in consternation.
refi. with en, to change to.
conEtruir, to build.
become.
consuelo, m., consolation.
convidar, to invite. ^^^^
cooGultar, to consult.
coavocor, to summon. ^^^^|
copa, /., cup; tree-top. j^^^H
consuqiir, to eshaust, wear
copia, /., copy, counterpB^^^H
out; squander.
copiar, to copy, transcrib^l^^H
contagio, m., contagion, dis-
coral, m., ^^^H
ease.
corazon, m., heart. ^^^^^^^|
contaminar, to contaminate.
Gorcel, m., charger, steed. ^^^H
contar, to count; relate, tell;
corchete, m., constable.
contsr eon, count upon.
Gordero, m., lamb. ,
rely upon.
Cfirdoba, pr. »., Cordova {a'
contemplacifin,/,, meditation.
Spanish city oj same 50,000
contemplar, to view, behold.
inhabitants, on the Cuadal-
gaze at, look at.
guiw Rivtr above Seville.
cootener, to restrain, check.
It was formerly a papulous
contento, m., contentment.
Moorish capital of great
joy.
wealth and spUndcr. It was
contestar, to reply, answer.
taken by the Christian Span-
iards, under Si. Ferdinand,
contlno, adv. (Jor continuo),
in ,236).
or de contino, continually,
cordura, /., prudence, good
constantly.
sense; sin cordura, fool-
coDtonio, m,, outline, con-
ishly.
tour.
cometa, /., bugle; cometa de
contra, prep., against.
b
monte, huntsman's horn.
M
^^^v
1
^^^^^^t VOCABULARY 353
^H corona, /., crnwn.
or other public entertain-
■ »™.„,toc,ow..
ments.
coipulentD, adj., corpulent,
costB,/., cost, e!ipense; coast,
fat, o£ large size.
shore.
conedor, m., corridor, entry.
coEtar, to cost.
^^ correr, (r. to travel, go over;
coBtOBO, adj., costly.
^H inlr. to run, hasten; glide
costumbre, /., custom.
^^M by, Sow, pass; el tiempo
crapuloso, adj.. drunken.
^H que coixe, the pn-scnt
crear, to create.
^M [j^g.
crecer, to increase, grow, rage.
correrifl, /,, excursion, foray.
creddo, p. p., full.
carrespooder, to answer, re-
creciente, adj., increasing.
spond.
credulo, adj., credulous, be-
corriente, /., current.
lieving.
comipciSn, /., corruption, de-
creencia,/., belief.
pravity.
creer, to believe, think, deem.
cortar. to cut.
crepusculo, tn., dasvn; twi-
^K corte, /., court.
light, dusk. .
^^^ _ cortejo, m,, cortege, proccs-
Crespo, pr. n. m.
^V
criador, «., creator.
Coit6s, adj., courteous, polite.
criar, to create, produce; ed-
cortesano, odj., courteous.
ucate, rear, bring up.
gentle.
crin, /., mane.
^^ cortefda, /., courtesy, civility,
cristal, m., crystal; mirror;
^^i
window-pane.
^^P corto, adj., short, slight.
Cristalino, adj., crystalline.
^^H correjfin, m., hock, bend of
glassy.
^H the knee.
cristiano, adj. and »., Chris-
^^V Gom>, adj., crooked.
tian,
^^ft cosa, /., thing.
Cristo, pr. n. m., Christ.
^^H cosdete, tn., corselet.
Cristfibal, pr. n. m., Christo-
^^B coser, to sew; cosido en,
pher.
^^1 sticking close to.
crucificar, to crucify.
^^M cosa, m., square for bull-6ghts
crucifijo, m., crucifii.
354 VOCABULARY ^^H
cnido, adj., rude, cruel.
cuaito, ^^^H
cruel, adj., truel.
cuatro, four. ^^^B
craeldad, /., cruelty.
cuasi-semi-ei-gozquejo, nt., - ^
cniento, adj., bloody.
quasi-semi-ex-lit tie-cur.
cnijir. to crackle, creak.
Cuba,/., vat.
cnil, /., cross.
Cuba, pr. tt. {ike largest island
cruzar, to cross, pass, pass
republic of the West Indies;
through; cnizar por, pass
area, 44,000 square miles;
through; reJI. to intermin-
population, about 2,000,000,
gle.
oj whom lifo thirds are
cuadra,/., large hall.
while. Cuba was Ike last of
cuadrar, to fit, please.
the Spanish- American States
cuadrilla, /., band.
to gain independence from
cuadro, m., picture.
Spain [in 1898] after many
cuajor, to curdle; load; cua-
revolts).
jado de, coated with, heavy
cubano, adj., Cuban.
with.
cubo, m., turret.
cual, adv., as, like, as if;
cubrir (p.p. cubierto), to
how!; pron., which, who;
cover.
such as; cada cual, each
cuchilla,/., sword.
one; cual .... ctial, one ... ,
cuchillo, m., knife; sword.
another.
cuello, m., neck.
cualquiera, adj. and pron..
cuento, m., story, tale; sin
any one, any whatever.
cuento, numberless.
cuondo, tonj., when.
cuerda, /., string, bow-string;
cuanto, cuan, how great, how
rope; pi. cordage.
much, how many, how
cuerdo, adj., prudent, dis-
many a, how; as many
^^^_
as, as much as, all that,
cuerpo, m., body, corpse. ^^^H
every that; cuanto mis, the
cuesta, /., slope, hill. ^^^|
cuidado, m., care, heed; anii-
more; ™ cuanto.
cuarenta, forty.
ety, apprehension; toner
cuaitel, m., barracks.
cuidado, to take care.
)
J
^^^^F
curioao, adj., inquisitive, cu-
^H cuitftdo, adj., sad, sorry, mis-
rious.
^H erable, unFortunaU.
^H GUJR, /., knee-bucket (lealhcr
curva, /., tnirve.
^M bag fastened to tke saddU, in
^H which to rest the butt of the
Ch
^M
^H culebrina, /., wavy sLreak of
chal, m., shawl.
^P
charlar. to chatter, prattle.
^ culpa,/., guilt.
chico, ad;., little; N.«.a«rf/., '
culpable, adj.. guQty.
child, urchin.
culpar, to bring blame upon,
ChDe, fr. n. (s republic on the
blame; culpado, guilty.
west coast of South America,
^1 culto, adj., cultured, polished;
from ?o lo 250 miU$ wide
^B ». tn., cult, worship.
and about 1700 miles long;
^H cultuim, /., education, cui-
arta, about 290,000 square
^H
miles; populalioH, about
^B cumbie, /., peak, summit.
4,000,000. Chile and Ar-
^H cumplir, tr. to discharge, carry
gentine are the most progres-
^^H out, perform, complete, ful-
sive stales of South America,
^m fil; GlimpUse tu Toluntad,
by reason of their temperate
^H thy will be done; inlr. to
climate and the preponder-
^H befit, be the right of; keep
ance of Europeans in tke
^M one's woid.
popuialion. The capital.
^M cuna, /., ciadle.
Santiago, is near the coast
^H condir, to spread.
and has about 300,000 in-
^H cfipula, /., cupola, dome.
habitants).
^H cora, M., parish priest, priest.
chileno. adj., Chilean.
^H corar, Ir. to cure, heal; inlr. to
cbillar, to screech, scream.
^H care; curar or curarse de.
chilUdo. m., Ehriek, shrill cry.
^^1 care (or, notice.
china, /., sweetheart.
^^R curefla,/., gun-carriage.
chispa, /., spark.
^^B cnriosldad, /., strange sight,
chispear, to ahine hriKliily,
^H cuiioBity.
sparkle.
356 VOCABULARY ^^^^^^^1
chispomteo, m., sputtering.
Daoiz, pr. n. (Luis Dooiz
chocar, to clash, collide.
In^y-iSoS], a Spanish cap-
Cholnla, pr. n. {an old J/«i-
tain of artiUery who distin-
can lovin, in ihe stale of
guished himself, and lost his
Pltebta, 7000 feet above sea-
life, in fighting the French
kvel; fopulaiion, about 12,-
invaders, in the uprising of
000. Near Cholula stands
3f(.vJ, 1808. 5rf Velarde).
one of the largest pyramids
dar, logive;cause;dara,laiid
in Mrxico. Cholula was an
in, visit; dar por, con-
important religious center of
sider; dar el rostro, set the
ancient Mexico).
face; dar voces, shout, call
choluteco, adj., of Cholula.
out.
chusma, /., crew.
de, prep., of, from; in, with,
by; than; as.
D
debajo de, prep., under, bc-
danm,/., lady.
debelador, -ra, n. m. and /.,
dam&sco, m., damask, figured
conqueror.
silk.
deber, to owe; must, ought.
have to; be about to.
cus, Damascene.
debido, p. p., due, proper.
Dante, pr. n. m. (Dante AU-
debil, adj., weak.
ghieri[i26s-i3!i],i*egrca/-
decana (/. of decano), dean.
esi of Italian foels, author
decir, to say, speak, tell, read.
of the "Divine Comedy"
decision, /., decision, resolve.
and other works).
decisive, orf/'., decisive, reso-
Danubio, pr. »., Danube
lute.
{Unglh 1800 miles; rises in
declaradSn, /., deposition.
Ihe Black Forest, Baden, and
declarado, p. p., avowed.
empties into the Black Sea).
declinar, to descend, sink.
k
danzar, to dance; whirl.
decoro, m., gravity, honesty;
h
dafiar, to injure, do barm to.
honor.
f
dafio, HI,, damage, injury.
dedicar, to devote, offer.
W
harm.
dedo, m., finger. 1
w.
■
ft
J
^^M VOCABULARY 357
^H defecto, m., defect, fault.
denso, adj., dense.
^H defender, to defend.
dentro, adt., inside, within. '
^M defensa, /., defense.
dentro. dentro de, prep,.
^^1 defensor, m., defender, pro-
within, inside of.
^H lector.
deparar, lo offer, present
^H defoime, adj., disfigured, im-
with.
^H perfect, hideous.
deponer, to lay aside.
^m degollu, to behead.
depoGitar, to deposit.
^M ddficar, to deify.
depCsito, m., trust.
^■. deju, to leave; cease, fail.
derecho, adj., straight, right;
^H dejo, m., inflection.
N. /., right hand; n. m..
^H delaate, adt., in front; de-
right.
^f lonte de, in front of, before.
dernunar, lo shed; reji. with
deleite, «., pleasure.
de, to streom from.
derredor, m.; en deiredor,
agreeable.
round about.
delgado, adj., slender, deli-
derrengado, p. p., lame.
cate.
derretirse, to melt.
deliCftdo, adj., delicate.
denibar, to overthron', knock
deUda,/., delight.
down, hurl down, throw
delldoBO, adj., delicious, de-
o£f; slouch (a hat).
lightful.
derrota, /., defeat.
DeUo, pr. n. m.
demuabar, to precipitate,
^^ dolinw, to rave, dote, dwell on
topple down; rfjl. to fall,
^H with passion; delirar por. be
desabrido, p. p., rough, cruel.
^H very eager to.
desabrochado, p.p., unbut-
^P delirio, m., delirium, moment
toned, open.
^^^ of madness, madness.
desafiar, lo challenge; rival.
delito, m., fault, crime.
desagraTio, m., salistaclion
dellaa, arci.Vdeellas.
{lor an ojense).
demands, to ask.
desahogar, to relieve, un-
demfis; los demGs, the others,
burden.
the rest.
desalentar, to put out of
d«niencU, /., insanity.
breath; discourage.
1
3S8 \'OC«uiARy
desunor, m.. lack of lo«;
loDclmess of spirit.
lop.
desconfiar, to lose hope; des-
desaparecer. to disappear.
confiado. diffident, lacking
desastre, m,, disaster, mis-
confidence.
fonune.
desatsr. lo loosen, free.
descoiisolado, p. p., discon-
desatenUdo, aJj., heedless,
solate.
confused.
describir, to describe.
desboratar, to disperse.
/., discoi-erer.
beyond restraint.
descnbrir, to discover; reveal,
desbordado, p. p., overflow-
disclose; leave uncovered,
ing.
uncover.
descuidar, to make oneself
Ing.
easy, lose ansiety; descni-
descalio, adj., barefoot, un-
dado, careless, free from
shod.
care.
descansado, p. p., peaceful,
desde, prep., from, since;
quiet.
desde que, since.
descanso, m., rest, repose.
desden, «., disdain, scorn;
descarga. /., discharge.
neglect.
desdeaar, to disdain, scorn.
faU.
desdefioso, adj., scornful, con-
temptuous.
cular.
desdicha, /., misfortune.
descender, to descend, go
desdichado, adj., unfortu-
down, sink; alight.
nate, unhappy, wretched.
descendiente, m., descendant.
desear, to desire.
descefUr, to ungird, take
desechado, p. p., outcast.
off.
desembocar, to open out.
^^^ desclavar, to unnail.
desengallar, to undeceive;
^^H descolorido, adj., colorle^i^,
ceive thyself.
w
^H VOCABULARY 359
^H deseateiT&r, to disinler, bring
desmelenado, p. p., dishev-
^1
elled, loose.
^B deseo, m., desire, wish.
deserUr, to desert, be a de-
tear limb from limb.
serter (from).
desnudo, adj., naked.
desocupar, to empty.
desespem-, to despair; deses-
desolar, to lay waste; deao-
perado, despairing, desper-
lado, desolate.
ate.
desollar, to flay.
desfallecer, to fail, fade, grow
weak.
desordenar, to throw into
deBgmJM, to tear off.
confusion, confound.
desgrada, /., misfortune.
deaparecer, to disappear.
desgnUiUdo, adj., unfortu-
despavorido, adj., terrified.
nate, unhappy; desgra-
despecho, m., dismay, des-
ciado de ml, uniiappv one
pair; fi despecfio de, in
that I am.
spite of, in defiance of.
deshacer, to destroy, pull to
despedida. /., farewell, part-
pieces; melt; rejl. to fall to
ing; departure; echar la
pieces, fade away.
despedida, to set free.
deahojar, to strip of leaves or
despedir, to emit, discharge;
petak.
bid farewell to, escort at
deshonn,/., dishonor.
departure; nfi. to take
dederto, adj., deserted.
one's leave, depart.
lonely; n. m., desert, wil-
despertar, Ir. to awaken,
derness.
wake; inlr. lo awake; (0/
deaignio, m., purpose, idea.
day) break, dawn.
deaigual, adj., uneven.
desplegar, to display, unfold;
desinar (/or designar), to des-
unfurl, hoist; reJl. to spread
ignate, appoint.
out, scatter.
deslucir, to tarnish.
despefiar, lo precipitate, hurl,
drive; rtfi. to rush head-
desmayar, to be disheartened,
long, fall.
discouraged; faint.
desplome, m., collapse, ruin.
•
36o VOCABULARY
despojar, lo slrip.
desvelo, m,, watchfulness.
desposada, /., bride.
vigilance; anxiety.
desposar. lo marry.
des Ventura, /., misfortune;
d^spota, m., despot, tyrant.
misery.
despreciar, to despise, reject.
desveaturado, adj.. calami-
desprender, to unfasten; let
tous, unlucky.
fall, emit.
desvio, »!., coldness, indiffer-
despues, adv., afterward;
ence.
despugs de, after; despuSs
detener, to stop, check, rein
que, after.
in; rejl. to stop, halt.
desque, conj. {arch.), as soon
detrfis, adv., behind; d^trfis
as, when.
de, behind.
deudo, m., relative, kinsman.
move from the foundation.
deudor, -ra, adj., indebted.
destocar, to detach.
devastacidn, /., destruction,
destello, bj., sparkle, spark.
desolation.
desteirar, to esile, banish.
devastor, to devastate.
devolver, to restore, give
destiiiar, lo destine.
back.
destino, m., fale, destiny.
devorar, lo de\'our, consume.
destocar, to remove the hat
swallow up.
from.
devoto, adj., devout, religious.
destrenzar, to unbraid, di-
dia, m., day; pi. life; de d£a,
she-el.
by day, dav; un dIa, some
deBlrozar, to break to pieces,
day.
destroy.
diablo, m., devil.
destruccian, /., destruction.
diadema, m. and /., diadem.
destiuctor, -ra, adj., destruc-
crown.
tive.
diilogo, m., dialogue.
destrujr, to destroy.
diamante, m., diamond.
desvanecido, p. p., presump-
diana,/., reveille.
tuous, conceited.
Diana, pr. n. /. (o Roman
desvarfo, m., delirium, rav-
goddess corresponding lo the
ing; caprice.
i
Greek Artemis; usually pic-
^^^^^F VOCABULARY 361
^^r tured as a hutUrtss, armed
Heavens! i»i»e DImI u
^^P udlh bow and quiver, and
Codlivckl jdcoaDioa, lure
^H sometimes holding a deer).
Ihee well.
^B dlbujar, to sketch, draw, out-
Dioft-Niflo, «,, ChriM-Chlldj
^H
fieBUdelDu>ft-Nlflo,ChrUt-
^V dlchft,/., happiness, good for-
m!i.s.
^^ tune; delight, blessing.
diiigir, lu dirett, Ruide, id-
dicboso, adj., happy, forlu-
dress; ca»l {a tfancr); rifi.
to turn, move.
Diego, pr. n. m., James.
disco. <n.. dlik.
^H diente, m., tooth; entredien-
discorde, adj., di»cordanl.
^H tes, under one's breath, in
discreto, adj., dliertol, pru-
H a whisper.
dent.
^" dieBtro, adj., skiiful, saga-
discurrir, lo wsmter, ru*b
cious; n. /., right hand; n.
aluul; (liKUM, dlKWUrMl
m., right.
consiilct.
diez, ten.
disfru. n., disguiie.
difidl, adj., difficult.
disimular, to diuemWe,
difundir, to diffuse; make
disipar, lo di<»i|tute, (KUttcf.
known, disclose.
diwiver (,p. p. diiuelto), to
difuSO, adj., difiuse; exces-
di^w.lve.
aive.
ditpartr, to ihool, fire.
fignuse, to deign.
diapendioM, adj.. corily.
dicBO, adj., wonhy.
diapenMT, to ettuie, hr%\vt.
lEUdfa,/., delay.
dUpon«r {p. p. dJapuuto), to
dlUtar, to dHale, distend;
arrange, pfcpafc, direct,
refi. to swell, spreud.
rommund; di.JNme, «l.
daigente, adj., active, busy,
distoscii, /,. disuncc.
eager; awift.
distanle, adj., dimnnt.
dtnero, m., money.
Dioaisio. fir. n. m., DionysiuE.
0U6.
^^ Ofaw, pr. n., God; por Dim,
dUtintiTO, «., di«tinctlve
^^L L beg you, please; by
mark, badge.
^^m Heavent jDios mtot oh
dirtinto, adj., diitincl.
1
362 VOCABULARY
diBtraldo, p. ^..absent-minded.
dolor, m.. pain, sorrow, grief ;
careless.
coo dolor, grieving.
distrito, «., district, region.
dolora, /., a word coined fay
dlsturbio, m., disturbance.
Campoamor, to designate
trouble.
a short poem rather mel-
diversi6n,/., fun, sport.
ancholy in content.
divereo, adj., diverse, vari-
dolorido, adj., afflicted, heart-
sick.
divertir, to amuse, occupy.
dlvidir, to divide, split.
subduer.
dirino, adj., divine.
domar, to tame, break
divisar, to descry, discern.
in.
do, adv. (arch, and podic
domiaar, to dominate, over-
for donde), where; do do,
look.
whence; por do, through
don, don, Mr. (genUBman's
which, over which; do
title, used only before Chris-
qiilera, everywhere.
tian name).
dobia,/., ancient Spanish gold
don, m., gift.
coin, worth about 10 pese-
donaire, m., grace, winning
tas ($2.00).
doblar, to bend.
doncel, m., noble youth {prop-
doblei, ™. andf., duplicity.
erty, one who has not yet
doblfin, m., doubloon (ancient.
been armed knight).
Spanish gold coin, worlk
doncella, /., maiden, girl.
about S4.00. The doblSa
donde, adu., where, at which,
setamo was worth %i.oo).
whither; & donde, whither,
doce, twelve.
wherever; de donde.
dogid, w., noose, halter.
whence; en donde, where;
doler, to pain, ache; rejl. with
donde quiera, everywhere,
de, to take pity on.
in any place.
doUente, adj., painful, sor-
doquier, doquiera, adv., ev-
rowful, mournful; sorrow-
erywhere; por doquier,
^ l»s.
everywhere; doquier que,
^^ dolo, m., deceit.
wherever.
^^^^^^r VOCABULARY 363
dorai,togild,illume;palliate;
ing; no durable, fleeting,
dorado, gilded, golden.
unstable.
donnir, lo sleep; rrfi. to tall
duradero, adj., lasting.
asleep; dormido, sleeping,
dinar, to endure, last.
asleep.
duro, adj., hard, harsh, cruel.
^^ dos, two; e! doB de majo, the
^^^ second oC May.
E
Hdo»l, m., canopy.
^VdoUr, to endow.
Ebro, pr. n. {a river, rising
^" dote, m. and/., dowry.
in the Canlabrian Moun-
duda, /., doubt.
tains of Northern Spain,
dudar, to doubt, hesitate;
dudar de, doubt, have
direction by Saragassa, and
doubts concerning.
emptying into the Mediter-
dudoso, adj., doubtful, of un<
ranean).
certain outcome.
edipsar, to eclipse, darlien;
^^.dualo, M., sorrow, grief;
outshine; ecUpsar sn her-
^^L mounung; train oC mourn-
mosura, lose its beauty.
B e».
eco, m., echo.
^■■ttasfia, /., mistress, house-
ecuador, m., equator.
keeper; duenna.
Ecuador, pr. n. {a repub-
dudlo, m., master, owner.
lic an the western coast of
DuBTO, pr. n. (one of Ike larg-
South Amerita; area, about
^^ est rivers oj Spain, which
115,000 square miles;
^H fiws through Cadile, LeSv,
population, about 1,500,-
^H and Portugal, and implies
000. The capital, Quito,
^V hao the 'Atlantic Ocean at
is 9300 feet abote sea-laiel.
^ oporto).'
and has some 90,000 inhabl-
dnlce, adj., sweet, gentle,
lants).
pleasant.
echar, to throw, cast, hurl;
dtilcemente, adv., sweetly.
echar menus, echar de
H_ gently.
menofi, miss; echar ft hacer.
^fe duque, m., duke.
begin Co do; echar la des-
^H datable, adj., durable, last-
pedida, set free.
364 ^^^^^^^1
edad, /., age; i los quince de
su edad, at the age of fd-
bol.
teen.
emboscar, 10 place in am<
Ed6n, pr. n., YAen.
bush.
educar, to raise.
emboio, m., mufiler, cloak
egipcio, adj., Egyptian.
wrapped about the head as
eje, m., axle.
a disguise.
ejemplar, m., exemplar, spec-
embravecido, p. p., raging.
imen.
embriagado, p. p., inloxi-
ejemplo, m., example.
caied.
ejerdtar, to practise; train.
eUstico, adj., elastic.
rupture.
deccien,/., choice.
emodSn,/., emotion.
elefante, m., elephant.
empanada,/., meat-pie, pally.
elegante, adj., elegant, grace-
empaflar, to dim.
ful.
empapar, to saturate.
«levar, to elevate, raise; elate;
empavesar, to dress (,skips)
k/. to rise; elevado, lofty.
with flags and bunting.
elig^, to choose.
empedemido, p. p., slony<
Elodia, pr. n. f.
hearted.
Elvira, pr. n. f.
empettar, to pledge, pawn;
embajada, /., embassy, mes-
rejl. to persist.
sage.
empeflo, m., earnest desire, 1
fumed, aromatic.
zeal. '
embarazar, to perplex; dazzle.
emperador, m., emperor.
embarcar, to embark.
empero, uJu., yet, however. '
embargar, to paralyze, over-
empezar, to begin.
whelm.
emplreo, m., empyrean,
embebecido, p. p., absorbed.
heaven.
embeleso, m., rapture.
emplaiar, to fo in a certain
embellecer, to beautify.
spot.
^L embestir, to assail, rush upon,
L
with feathers, plumed.
M
^^^^^P VOC.4BtTL.Uiy 365
eneamsr, to incarnate, incor-
gin.
colored; red.
en^TCM, /., eoterprise, un-
encender, to light, kindle, en-
dertaking.
Lindle; rejl. to be kindled.
empniar, to impel, push, drive
glow; encendido, fiery.
on.
encerrar, to lock up, shut up;
empnje, «., onslaught.
contain, enclose.
enqmflu, to grasp, clutch.
endnta, adj. /., pregnant.
enuilar, to emulate, rival.
enckvar, lo nail.
^M Cmnlo, •»., rival.
^V en, prep., in, into, on, over,
mit.
^V at, to; with; as, like.
^^ enajenar, to transport, en-
encoutrar, to meet, find, meet
rapture.
with; rejl. to be, feel.
enamoimdo, p. p., In love, lov-
encuentro, m., meeting, en-
ing, enamored; n. ui. and/..
counter; salir al encuentro
lover, dear one, sweet-
de, go to meet.
heart.
endeble, adj., weak, flimsy.
dumorar, to inspire love;
endulzar, to sweeten, soothe. '
^^ rejl. to fall in love.
enemjgo, adj., hostile, un-
K encaje, «., lace.
friendly; ». m., enemy, foe.
^^1 encaatado, p. p., enchanted,
energU, /■, energy, strenuos-
^^m charmed.
ity.
enfadarse, to be angry.
■ ing.
enfennedad,/., sickness, com-
^^P encanto, n., charm, delight;
plaint.
^F enchantment.
enfermo, adj., sick, illj dis-
encanunar, tu extul.
eased.
enflaqueddo, p. p., thin, lean;
toward, face.
weakened.
^_ racorcelar, to imprison.
enfreoar, to curb, restrain.
^^U' WcarecM', to assure of, extol
enfnrecer, to anger, irritate;
^B the value of.
Ttjt. to rage, grow furious.
366 VOCABULASY ^^^H
enorme, adj., enormous.
engallarse, lo draw onestif
entamada, /,, bower, arbor.
up, arch the neck.
enriquecer, to enrich.
engafLador, m., impostor, de-
cniiscado, adj., craggy, full of
ceiver.
cliffs.
engailar, to deceive, siMithe
enroscar, to twine, twist, curl.
(bydecefilion).
ensalzar, to exalt.
engafio, m,, deceit.
ensanctuir, to widen.
enearzoi, to string (on a ivire).
ensangrentar, to stain with
link.
blood.
engendrar, to generate, pro-
enSHflado, p. p., enraged.
duce.
ensayo, m., test.
Engine {usually spelled Egi-
enseuada, /., inlet.
na), fr. n., Aegina (an
ensella,/., banner.
island in the Gulf of A egina.
ensefiar, to teach.
of the east coast of Greece).
ensordecer, to deafen.
«DgoUai, to be lost from sight
entablar, to initiate, begin;
[in the open sea).
bring (suit).
engreldo, p. p., conceited.
entablerado, p.p., pushed
enigma, «., enigma, riddle.
against the barrier {which
enjugar, to wipe away.
surrounds a ball-ring).
enjuto, adj., lean, withered.
entena,/., yard, yard-arm.
enlazar, to intertwine, join.
entender, to understand.
enlctquecer, to madden, turn
know.
the brain.
entereza, /., integrity; firm-
enlutar, to put in mourning;
ness.
• veil, darken.
entero, adj., whole, complete,
hevel.
intact, entire; vigorous.
enmudecer, ta be silent.
enterrar, to bury.
enojar, to irritate, anger.
entierro, m., burial, funeral.
enojo, m., vexation, anger.
entonar, to intonate, sing.
enoJDSO, adj., offensive, trou-
entonce, adv. (arch, and poetic
blesome.
IL
/orentonces), then.
^^^
"1
^^^^^" VOCABULARY 367
•abmces, adv., then; de en-
§poca,/., age, era.
tonces, of that time.
equilibrar, to balance.
equinocdal, adj., equinoctial.
both.
ei^uir, to raise; ei^do,
eatrafla,/.,- pi. entrails; heart,
steep; lofty; erect.
feelings, recesses; de mis
errante, adj., wandering.
entrafias, darling.
entiar, to enter; advance.
enipddn, /., eruption.
entre, prep., among, between,
escabel, m., foot- stool.
amid; in, within; por entre,
escalar, to scale.
amid, through.
CBcalera, /., stairway.
eacama, /,, scale {0/ a fisk).
escondalizar. to cause scan-
1
refi. to yield oneself, aban-
dal, scandalize.
don oneself.
escindalo, m., scandal; as-
entretener, to amuse.
tonishment.
CTuistecerse, to grow sad.
escapar, to escape.
eatTonizar, to enthrone, exalt.
escarbai, to scrape, paw.
entinbkr, to disturb, con-
eEcanniento, m., warning.
found.
escainecer, to mock, scoS at.
ridicule.
envanecerse, to become
escaso, adj., slight, limited;
proud.
dim, scanty.
enTBjecerso, to grow old.
escena,/., scene.
envenenai, to poison.
esclarecido, p.p., illustriou.s
enviai, to send, send forth.
noble.
envidia,/., envy.
esdavo, adj., slavish, of a
envidiar, toenvy.
slave; «. m. and/., slave.
!
envilecer, to debase.
escoba, /., broom.
envolver {p.p. envuelto), to
escoger. to choose.
envelope, surround, wrap.
^
epaogo, m., epilogue.
bris. J
H
epCstOla, /., epistle, letter.
esconder, to hide, conceal. M
epitafio, m., epitaph.
1
escribano, m., clerk, notary. M
m 1
^r 368 VOCABULARY
eacribir (p.p. escrito), to
esmero,m., greatest care, best
worL.
espaciorse, to wander about
escTutar, to scruLinizc.
escuadr&n, m., squadron.
at leisure.
escuchar, to listen to, hear.
espado, m.. space.
escudero, m., st|uire.
espadoso, adj., spacious.
eacudo, m., shield, proLec-
espada, /., sword.
tion.
espalda,/., back, shoulders.
escuela, /., school.
espantar, to frighten, terrify.
escultura, /, sculpture, carv-
espanto, m., fright, consterna-
ing.
tion, horror.
esct^, to spit upon.
dreadful.
ese, -a, -0, adj., that; ft eso
Espafla, pr. n.f., Spain (area.
de, at about.
192,000 square miles; popu-
eBcncia,/., essence, perfume.
lation, about 20,000,000).
esfera,/., sphere; heaven.
espaflol, -la, adj., Spanish; ».
esfinge, /., sphinx {according
m. and f.. Spaniard.
to a Greek ntyih, the sphinx.
esparcir, to scatter, spread;
— a monster wUk the head of
esparcido, cheerful, open,
a -woman, the body 0} a lion.
gay.
the ivings of a bird, and Ih^
espavorido, p. p.. terrified.
taU of a serpent, — pro-
espejismo, «i., mirage, illu-
posed a riddle to the The-
sion.
bans, and slew all who
espejo, m., mirror.
could not guess it. It was
espeluzarse, to bristle the
finally solved by (Edipus).
hair.
^^^ esforzar, to strengthen, em-
esperanza, /.. hojie.
^^K phasize; esfonado, strong.
eaperar, Ir. to expect, await;
^H
hope for; inlr. to hope;
^^1 eBfuerzo, m,, courage; effort.
wait.
^H eBlabooai-, tu link, join.
espeso, adj., tbicfc.
^^H QBmerarse (en), to da one's
espesura, /.. thicket, dense i
^H^ best
^m
n
^^^^^r VOCABULARY 369
^BMmt, to spy out, wairh
estado, m., state; condition;
1
V for.
Estados Unidos, United
" CBpiga,/., ear („/£-«/«).
States (oreo, exclusive of
H
espigado, p. />., eared, with
Alaska and the colonial de-
heads {as grain).
pendencies, about 3,025,600
espina, /., thorn.
square miles; populaiion in
:i)io, aboiil 90,000,000).
i
espira, /., spiral.
estallanle, adj., cracking.
\
esplritu, m., spirit, soul.
estallar, 10 burst, crash.
estampa,/, image.
refulgent.
estancia, /., room.
grand.
estar, to be {temporarily);
eaplendor, m., splendor; de
stay.
esplendor, splendid.
este, -a, -0, adj., this; en
esponjado, p. p., swelled like
esto, meanwhile.
^^ a sponge.
Esteban, pr. <i. m., Stephen.
^B wposa, /., wife, spouse, con-
estenso, adj., extensive, spa-
^^H sort; pi. manacles, fetters.
cious.
^Vmposo, ffi., husband; pi. hus-
esteril, adj.. sterile.
^ band and wife.
estilo, m., manner.
espnela, /., spur.
estimacifin,/,, esteem, regard.
espuma, /., (oam.
estimar, to esteem, regard.
espumante, adj., foaming,
consider; estimar en tanto,
frothing.
think so highly of; refi. to
EsquHo, pr. n. m., ^schylus
be conceited.
{the first in time of the three
eatlo, m., summer.
estoque, m., rapier.
^^ [535-456? B.C.I).
estorbar, to prevent, forbid.
^Ki^Mnft./-. comer.
estrado, m., drawing-room.
^Ktequirar, to shun; reJI. to
estrago, mi., havoc, destruc-
^*" withdraw, hold aloof.
tion.
esquiVO, adj., retired.
estrechar, to press.
ertadta,/., season.
estrecho, adj., narrow.
J
P 370 VOCABULARY ^^^^^^B
estrella, /., star; fate.
exclamai, to exclaim, cry
MtrellarBB, to be dashed to
out.
pieces, fall and be killed.
execrable, adj., execrable, ac-
estremecerse, to sliake, trem-
cursed.
ble; estremeddo, trem-
eiecracifin./., execration.
bling, quivering.
exhalar, Jr. to exhale, breathe
estrfipito, m., din, clamor,
forth; uller; intr. to emit ^
crash.
^H
estribO, m., stimip.
exhauEto, adj., exhausted. ^^|
estractura,/., structure.
engir, to demand, call for. ^^|
estnieiido, «., crash, thun-
ezunir, 10 exempt, excuse. ^^|
derous sound.
eristencia, /., existence, Iif!«^^|
estniendoso, adj., loud, noisy.
'eziatir, to ^^|
estrujar, to crush, mash.
£xito, m., issue; success. ^H
estudio, m., study.
experts, adj., expert. ^^|
estupendo, adj., stupendous.
expirar, to expire, die. ^H
estupor, m., stupor.
explicar, to explain. ^H
6ter, m., ether, sky.
etfireo, adj., ethereal, heav-
expresar, to express. ^^|
enly.
eipresifin, /., expression, ut^^^
eternal, adj., eternal.
^^1
eternamente, adv., forever.
Sitasis, m., ecstasy. ^^^|
etemidad,/., eternity.
extender, to extend, stret^^^f
eterno, adj., eternal, irrevoca-
J^^l
ble, never-ending.
extenuado, p. p., extenuatq^^H
Europa, /., Europe.
feeble. |^H
evitar, to avoid, shun.
eitranjero, adj., foreign; n. D^^^H
excelsior (Latin), excelsior.
amj/., stranger. '^^|
fc hieher.
extrafiar, to wonder at. ^^|
fcaxcelsitud./., loftiness.
extraQo, adj., strange; n. "^^^1
^bxcelBO, adj., lofty, exalted.
^^H
BuceaiTO, adj., excessive.
eztremo, adj., extreme, vu!^^|
^nzceso, m., excess.
great; R. m., end, extretij^^H
W cxdtar, to stimulate, move.
^H
^^^^^ VOCABULARY ,;;!
F
fatfdico, adj.. oriicuLii, in-
spired; (uldtil.
fabUr. arck. f«r hablar.
fadga./., loiljiilw; UilBiK-,
fabrior, lo construct.
fatigax, lo wrary, (Ire,
ffibula,/., fable; l[e.
Ffitima, pr. n./.
facer, arch, for hscer.
fattsto, adj., hnjipy, miiiiil-
flcO, adj., easy, lifihl; sim-
dou.H.
ple.
favonlo, m., wt-^l o'inil.
facilitar, to make ready.
favor, «„ fuviir, i<mi|iliim-in,
fttUue, adj., deceptive, lying,
prijicciiiin.
falUdous.
fai, /., face; en tai da, with
falcon, «. (arci. for Imlcta),
the Rppcaranve o(,
falcon.
faz, arch, for hac«.
falso, adj., false.
fo, /., fnilh. (roth, i-utimBncyi
faltar, to be lacking, be ab-
dar fe, to bear teitlinoiiy.
sent; nada 1b (alta, he Ucks
fealdad,/., ugliiiew,
nothing.
Febo, fr. n. m., I'hiwbus, the
foma, /., fame; report; es
fama, it is said.
sun.
febril, adj.. frvcrlsh.
familia,/., family.
fecundo, <utj.. Iruitfiil. fcrlilc.
famoBO, adj., famous.
copious.
fanatismo, m., fanaticism.
fellcldad, /., linppincM.
fandango, tn., s. Spanish
fellz, adj., happy, (ortuniin^,
dance.
blessed.
faneo, w., mud, mire.
felonia,/., Ircachery, trciison.
fantasia, /., fancy, imagina-
femeotido, adj.. tiiiihtess.
tion.
fenecer, to come to an end,
fantasma, m., phantom, spec-
die.
tre; vision; fantasmas de
feo, adj.. ugly.
maldicidn, cursed phan-
fSretro, m., bier, coffin.
toms.
Fernando, pr. n. m., Ferdi-
fantflstico, adj., fantastic.
nand (Fernando I mlUd E]
fastidiD, m., weariness, ennui.
Magno [d. loesl, king of
fatal, adj., fatal, ominous.
Castile and U6n; the first
m
1
^P 372 VOCABULARY
riment, fun; fiesta de toroB,
ke waged war successfully
boll-fight.
against Ihe Moors of Por-
figura, /., form, shape, figure.
tugal, Attdalmia. and Va-
figuraise, to imagine, think.
lejicia; Fernando m [el
fijar, to fi:^.
Tercer Fernando] of Castile
fljo, adj., fixed, motionless.
and Leon, known as St.
flla, /., rank, row, line.
Ferdinand \d. iis^I, %vage:d
fil6sofo, m., philosopher.
war tigOTOUsly and success-
fin, m., end, aim; fU fin, finally,
fully against the Moors).
at last, after all; en fin, fi-
feroz, adj., fierce, ferocious.
nally, at last; in fine; par
Krreo, adj., of iron, iron.
fin, at last; sin fin, endless.
ffirta, adj., fertile, frmtfiU.
final, adj., last.
fertilizer, to fertilize, malce
flnar, to die, die away.
productive.
flngir, to feign; imagine.
fervido, adj., glowing, pas-
fine, adj., fine; delicate.
sionate, boiling.
firmamento, m., firmament,
fervoroso, adj., fervent, ar-
heaven.
dent.
firmar, to sign.
festln, m., feast, banquet; en-
firme, adj., firm.
tertainment.
firmeza, /., firmness, stead-
feado, m., fief, feudal do-
fastness.
main.
fiaco, adj., weak, frail, thin.
flamenco, adj., Flemish.
trust, confide.
fiamlgero, adj., flaming.
flebre,/., fever.
flfimula, /., streamer, pennon.
fiel, adj., faithful, eiact; n.
Flandes, pr. n., Flanders (iAe
«., needle of a balance;
old name of a region em-
^^k scales.
bracing parts of the present
^^1 flera,/., wild beast.
kingdom of Belgium and Hc^
land and Ike French Depart-
^^H floo, adj., cruel, terrible.
meni of Le Nord. A large
^^^H wild, fierce, fiery; ugly.
part of Flanders passed mik 1
^^H fiesta, /., feast, festivity, mer-
FkUip 11 to Ike Spanish
^^^r
%
^^^^^^ VOCABULARY 373
^^K line of the House of Haps-
forja,/., forge.
^B iurg. When Flanders [Ihen
forjar, to forge, invent.
^B a fori oj Ike Netheria»d!\
forma, /., form, figure; pi.
^Hr tnoUed against Spamsh rule.
form, outlines.
^B the Spaniards, led by Ike no-
fonnar, lo form, fashion, com-
^F torious Duke 0/ Alba UsoS-
pose.
1582), aUempted la crush
fortalecer, to strengthen.
the DuUh. Al first sacuss-
fortaleza, /., fortress.
1
Jul, the Spanish forces ul-
fortuna,/., fortune, fate; good
1
timalely failed).
fortune.
1
fleco, m., fringe.
fragancia, /., fragrance, per-
flecha,/., arrow.
fume.
flexible, adj-, flexible, lithe.
fragaste, adj., fragrant, odor-
flor, /., flower, blossom; en
iferous.
flor. in iia prime.
frfgil, adj., fragile, weak.
florecer, to bloom, blossom;
fragor, m., crash.
florecido, in bloom.
fragoso, adj., rough, full of
obstacles.
thriving, prosperous.
fraile, m., monk.
florecilla, /., floweret.
francea, -esa, adj., Trench; «.
floresta, /., forest.
m.. Frenchman.
florido, adj., flowery, bloom-
Francia, pr. ». /., France
ing; c hoi test.
{area, exclusive of colonies.
flota,/., fleet.
about 300,000 square miles;
flotante, adj., floa.ting.
ptipiihlioH, about 40.000,-
flotar, to float.
foUaje, m., foliage; frill.
Francisco, pr. a. m., Francis.
fondo, in,, bottom, depth,
franco, adj., frank, open.
depths.
fraaja,/., band, border.
fontana, /., fountain, spring.
franjfldo, p. p., striped.
fonte-frida, /. (arcA. for fuen-
fratricida, adj., fratricidal.
te Wa), cold spring.
fray, m., brother (liile of mem-
forajido, JH,, outlaw.
bers of a religious order).
forcejear, to struggle.
frecnente, adj., frequent.
i
374 VOCABULARY ^^^^^1
fren^tico, adj., furious, fran-
de, by dint of, by force of;
tic.
es fuena, it is necessary.
freno, m., bridle; restrainl.
fuga,/., flight.
frente, /,, forehead, brow;
fugaz, adj., fleeing, fleeting,
face; i frente, straight
swift.
ahead; frente por frente,
fugitiyo, adj., fugitive, flee-
directly opposite.
ing, fleeting, sweeping.
fresco, adj., fresh; cool;
fulgente, adj., refulgent, bril-
bright.
liant.
frvBCOr, m., freshness, luxuri-
fulgor, m., brilliancy, gleam,
ance.
resplendence.
Ma, adj., cold; n. m., cold.
fulgurante, adj., shining.
frfvolo, adj., frivolous.
fulgurar, to flash, shine.
frvndoEO, adj., leafy.
fulminante, orfj.. fulminating.
frugali adj., frugal.
explosive; flashing.
fruncir, to knit {the brows).
fimdar, to found.
fiiito, m., fruit, product(s);
fliaebre, adj., funereal, dark,
profit.
mournfui.
fuego, m., fire, bonfire; ardor;
funeral, adj., funereal.
pi. fireworks.
funesto, adj., dismal, sad,
Fuenfrfa, pr. n. (o pass in
ill-omened, fatal.
the Guodarrama mounloins.
ftiria, /., fury, rage.
not far lo the noHhwtst of
furioso, adj., furious, raging.
Madrid).
furor, «!., rage, fury, madness.
fuente, /., fountain, spring.
hirtivo, adj., secret.
source; stream near its
fusil, m., rifle, gun.
flitU, adj., futile, worthless.
fuera, adv., outside; fuera de,
futuro, adj., future; n. m., fu-
aside from, without.
ture.
fuero, m., statute law; law,
privilege.
G
^^B fuerte, adj., strong, violent.
gabin, «., overcoat.
^^ (uw«, /., strength, force,
gaditano, adj., of Cadiz.
^^^H 1 might; fortress; & fuerza
gala, /., choicest part of a
^^^^ VOCABULARY 375
thing, gem, ornament;
ganar, to gain, earn; win,
grace, gallantry; holiday;
capture.
pi. finery.
gaiianta,/., throat; gorge.
Eolfin, -sna, adj., gallant,
garra, /., claw, talon, clutch.
spirited, splendid; n. m..
garrido, adj., graceful, hand-
gallant, lover.
some.
gklanteilk,/., gallantry, com-
gasa,/., gauze.
pliment.
Gaspar, pr. n. m., Jasper.
gBlardfin, m., reward, recom-
gSEtar, to spend, waste.
pense.
gatiUo, m., kitten.
galera,/.. galley.
gemido, m,, groan, moan.
Galiana, pr. n.f. {according to
gemir, to moan, groan,
tradUion, a beaalifui MooT-
creak.
isk princess ej Toledo for
whom her father built a pal-
Generalife, fr. «. {The beau-
ace in the vega la the north-
east of the city. Here
the celebrated summer resi-
dence oj the Moorish kings
cording to one legend, won
of Granada, is situated to
her tote, and in a duel cut
the east of the Alhambra kill.
of the hand of, and then
and about 165 feet above it.)
slew, a rival for the afec-
generoso, adj., generous, no-
tions of the princess).
ble; rich {of color).
fUlco, adj., Gallic, French.
GfineBia, pr. «. m.. Genesis.
galope, m., gallop.
GeBn.,pr.n.(ariver whichrisei
gallardo, adj., graceful, spir-
in the Sierra Nevada, passes
ited, bold.
Granada, and empties into
gaUego, adj., Galician.
L gana,/., desire.
genio, m., genius, spirit.
W- gan&dero, m., cat tie- dealer,
Genova, pr. n., Genoa.
■ atock-man.
gente, /., people; servants,
■ ganadico, m., little herd.
retinue.
■ flock.
gentil, adj., elegant, charm-
■ ganado, m., herd, Sock.
ing, graceful; excellent.
376
gnUileza, /., grace, chaim;
gradousness. couriesy.
gentilhombre, n., genlleman-
in- waiting.
Eennen, m., germ.
gctto, m., face, expression r>f
the (ace; grimace.
Gibraltar, pr. n. (an Engluk
fortras on Iki soulhcasitrn
extremity of Ike Spanisk
Peniruula).
gigante, adj., gigantic, huge;
), adj., gigantic.
gigantesco, adj., gigantic.
girar, to circle, hover about,
giro, m., circling, circular mo-
gladal, adj., glacial, icy.
globo, m., sphere, globe.
gloria, /., glory, fame; bliss,
heavenly bliss; brilliance.
glorioEO, adj., glorious.
gobemador, m., governor.
gobeniar, to govern, rule.
VOC.\BliXARY
., gOVf
gobie:
goce, m., joy; possess!
golfo, m., gulf.
golondnna, /., swalkiv
golpe,
■ golpe
L
golpear, to beat, striltLe,
grfieria,/,, dainty.
gomel. m. iprobably same as
gDiner, a member of Ike
Gomrra Iribt of Berbers).
gonce, m., hinge.
Goozalo, pr. n. m. (Gonzalo
de Cfirdoba [i4S3-'S"Sl.
ktunan as EI Gran Ca|iitin,
the ckitf Spanisk generai of
his lime; ke aided
I the
conquest of Granada [14
and in wars against f
lugal and Italy).
gorguera./., gorget; ruff.
gorigori,
of the priests' mumbling
chant at funerals.
gota, /., drop; no yw gota, to
be blind.
gotear, /r. to let fall ii
inir, to drip, drop.
g6tico, adj., Gothic.
gozar, !r. to enjoy; intr. to re
joice, take delight; refi. ti
rejoice.
gozo, w., joy.
gozoBO, adj., cheerful, glad,
grabar, to grave, impress.
gracia, /., grace, gracefulness
pi. thanks,
gracioso, adj., graceful, pleas
ing, amusing. _
grada, /., step, terrace.
grado, m.; degrado, willingly.
willingly. I
VOCABULARY
.177
18,/., dog's-gras!
grana,/.. scarkl.
^ Craiuda, fr. h. (a Spanisli
' cily of some 70,000 inhabit
I lanls, formerly the capilal
~ of a Moorish tingdem. At
' an allilttdc of 2195 frel
above the sea, it is pittur-
esquely situated at the foot
of snow-dad mountains. It
was taken by the Chrislion
Spaniards in 1492).
rcranado, ^. ^., seedy, Cull of
grain; n. m., pomegranate
ee; labios de granado, red
tnde, adj., great, large; n.
a h[gh office; gran-
dee {noUeman of tlie first
^ rank, who may wear his
n the king's presence).
la, /., greatness, size;
f grandeur.
I, adj., grand, splen-
gnu^co, adj., of granite.
granito, m., granite.
grano, m., grain (either as a
cereal or a single seed) .
Grant, pr. n. (Uljrsses Simp-
MD Grant [1822-1885!, "
^^_ celebraied American general
^^^^ ttnd Ike eighteenth president
^^K ^ the tfnited States. After
retiring from the presidency.
Grant made a triumphal tour
of Europe and parts of Asia,
and mtt many distinguished
gratamente, adv., pleasingly;
gratefully.
giRto, adj., pleasing.
grave, adj., grave, serious;
heavy; deadly.
gravedad, /., gravity.
Grecia, pr. n., Greece (area,
about 15,000 square miles;
population, 2,500,000).
grey, /,. flotk, fierd; throng;
people,
griego, lulj., Greek,
grillo, m.; pi. shackles, fet-
grima, /., horror, fear.
gris, adj., gray.
gritar, Ir. to call out, shout
out; inlr. to cry, shout.
giito, m., cry, shout, shriek.
grueeo, adj., thick, stout,
Guadalajara, pr. 11. (a Spanish
town 35 miles northeast of
Madrid; population, about
Guadalquivir, pr. n. (a river
that flows through Cordova
and Seville, and empties into
the Atlantic).
gualdo, adj., yellow.
378 VOCABULASY ^^^H
gnaute, «., glove.
gtislo, Hf., taste, choice.
enardar, lo presen-e, keep,
gostoso, adj., glad, content,
watch over, protect.
willing.
H
guard; /., guard (body of
men).
haber, to have, possess (in
gnarecer. to shelter.
arch, laiiguage used for
gnaraecer, to embellish; [rim,
tener); haber de, to have
edge.
to, must; no he de callar, I
IguoTtel inUrj., beware!
will not be silent; jamfis ha
GiMtemoc, pr. n. m., Guate-
de ser, it can never be; bien
moc or GuatemoUiindisoo?-
haja, blessings on, hail to;
1525!, Ike last Aslec em-
haber por bien de (arck.).
peror of Mexico; a nephew
to consider right, take
pleasure in; poco ha, a little
moc was captured by the
while ago; ha tiempo, long
Spaniards, and because he
ago; impers. (vnth present
refused lo reveal hidden treas-
indicative hay), there to be.
ure he was tortured by fire.
exist; haj que llegar, one
He was later executed by
must come; refl. there to be.
order of Cortls).
hlbU, a<J;'., skilful, intelligent.
Euedeja, /., forelock; long
habitador, m., inhabitant.
lock of hair.
habitar. tr. lo inhabit, live in;
gtiero, adj. {for huero), emp-
inlr. to tlweU.
ty; (colloquial) blonde.
hablador, -ra, adj., speaking.
gnerra,/., war; de guerra, in-
talking.
tent on war.
hablar, lo apeak; bien ha-
Euerrero, adj., of war, war-
blado, courteous of speech.
like; n. «,, soldier, warrior.
niild-tongued.
guiar, to guide.
hacer, to make, do, create;
guifiar, to wink.
hacer calor, to be hot (0/'
Euimalds,/,, wreath.
the weather); hace muchos
pila,/., gluttony.
dfas estoy, I havf been for
gusano,- w., worm.
many days; refl. to become.
^Hfcada, prep., toward; bacia
^F Ctris, backw3.riJ,
hadenda, /., fortune, estate.
hado, m., fate, dest[iiy.
bolagar, to flatter, allure,
soothe; stroke.
lullor, to find; reji. to be, re-
VOCABULARY
379
",/.,(
:, famine.
barSo, m., harem.
barto, adj., satiated, glutted;
full, 1
uch.
baBta, prep., to, up to, un-
til; adv., even; hasta que,
haz, m., sheaf;/., face.
Iiazalla, /., deed.
I he I inter]., behold,
hebra,/., fibre, thread, strand.
hechizD, m., charm.
hecbo, m., deed.
hediondo, adj., fetid; repul-
helado, p. p., frozen, icy.
helarse, to freeze,
bellaco, adj., heliacal {said of
a morning or evening star,
vihick rises or sets a short
'e before or after the sua).
», /., female; woman.
I, m., bemisphere.
ta fill out; stuff,
bender, to crack, split, cleave;
hendido, deft, pierced,
horaldo, w,, herald.
HSrcules, pr. n. m., Hercules
{a mythical Greek hero who
personified persistent physi-
ciii sirenglk).
heredar, to inherit.
beredera, /., heiress.
bereada, /., heritage.
berida,/., wound.
berii, to wound, strike; herido,
wounded (man).
hennana /., brother, sister.
bermano, m., brother; pi.
brother and sister.
bennoso, adj., handsome,
beautiful, lovely, fine, fair,
hermosura, /., beauty.
beroe, m., hero,
heroico, adj., heroic.
herolsmo, m., heroism.
berradura, /., horseshoe.
bervir, to boil, seethe, stir,
hervor, m., boiling; vigor.
hidalgo, m., nobleman.
liidrOpico, adj., dropsical.
hiel, /., gall, bitterness.
hielo, m., ice, frost; chill,
hiena, /., hyena.
hierba, /., grass, weed,
hierro, m., iron; sword; pi.
380 VOCABULARY ^^^^^^H
higu««,/., fig-tree.
hombro, m., shoulder.
hija,/., daughter.
Homero, fr. n. m., Homer (an
hijo, m., son; pi. children.
unknown Creek poel who
hlmeneo, m., hymen, mar-
gate shape lo the Iliad and
riage.
possibly to the Odyssey, in
EQmeto, pr. n., Hymettua (a
the lolh or ii(4 century
moanlain range in Allica,
^m
about iooo feel high).
hondo, adj.. deep; hiddenf.^^H
hinmo, m., hymn.
m., bottom, deep. J^^^|
hiDcar; hincai' la rodilla, lo
bonestidad, /., purity. ^^^B
kneel.
honesto, adj., honest, virtu-
hinefaar, to swell.
ous.
hinojo, m., knee; de hinojos,
honor, m., honor.
kneeling.
honra, /., honor.
hiperb6reo, adj., hyper be-
honrar, to honor; honrado.
honorable.
hora, /., hour; ads., now.
ing.
boradar, to pierce.
hispano, adj., Spanish.
Horche, pr. n. (a village in the
historiA, /., history, story.
Province of Guadalajara).
hocico, m., snout, nose.
horizonte, m.. horizon.
hogor, m., home, hearth; hot-
horrendo, itdj., dreadful, aw-
bed.
ful.
llOguem, /., bonfire, fire,
horrible, adj., horrible, dread-
blaze; stake (of whkh crim-
ful.
inals were burned).
b6rrido, adj., hateful, hideous.
hoJB,/., leaf, petal.
horror, w., horror.
|holat inter j., ho there!
horrorizar, to terrify, strilu^^^
tiollar, to trample upon, tram-
^^H
ple.
bospedaje. m., hospitality.'^^H
hombre, m., man.
hospedar, to lodge, harbon^^^H
^^ hombrera,/.,pauldron (a piece
bostigai, to lash. ^^^^|
B of armor lo cover Ike skoul-
boy, adv., to-day. ^^^^|
I ...
hoyo, ;n., hole, pit. ^^^^|
L
*^^^H
^^^r
^1
^^^^M^ VOCABULARY 381
hueco, adj., hollow; h. m,,
ble, lower; rrJI. 10 bow
hoUow.
down.
1
huoUa, /., trace, track, fool-
himio, «.., smoke.
print; mark, impression.
hundir, to submerge, sink,
1
hufirfano, adj., bereaved; n.
destroy; rejl. to sink, sink
V,., orphan.
in.
buerta, /., pleasure- garden,
huracfin, in., hurricane.
summer-house {arch, mean-
huraflo, adj., wild, intracla-
ing oj the -word).
ble.
huerto, m., orchard.
huri, /., houri. (The houris
1
huesa,/., grave.
are Ike beaalijul maidens
buoM), m., bone; hom.
described by Mohammed,
1
huSapod, m., guest; host.
who dardi in Paradise, and
J
huesrte,/., host, army.
■whose companionship is one
■
fitigo, pr. n. CVictor Hugo
of Ihe rewards ofend to
■
[i8oj-i88sl, a dislingvished
pious Mussulmans.)
■
French peel, noveiist, and
hurtar, to steal, snatch.
■
dramalist).
■
hair, lo flee, run away; es-
■
cape.
■
Ibfin, pr. n. m.
■
Iberia, pr. n. (the peninsula
■
manity; humaneness.
■which includes Spain and
■
humano, adj., human; hu-
Portugal). 1
^
mane; like men and women.
iberico, ibero, adj., Iberian.
\
bnniBar, to smoke.
ida,/., sally, going forth.
idea, /., idea.
ideal, m., ideal.
bumedecer, to moisten, wet.
idioma, m., language, tongue.
bfimedo, adj., damp.
iglesia, /., church.
bumildBd,/., humility.
ignominia,/., ignominy.
bnmflde, adj., humble, mud-
eat.
bumillar, to humHiate, hum-
1
ienorancia,/., ignorance.
i
t
^
382 VOCABULARY
ignorar, not to know, be
impooer, to impose.
ignorant; ignorado, un-
importar {impers.), to matter.
known.
ignoto, adj., unknown.
portune, be importunate
igual, adj., equal, even; n. m..
to.
equal, fellow; por igual,
equally; sin iguaJ.utiequaled.
importunate.
igualarse, tu be equal.
impostble, adj., impossible.
igualdad, /., equUity.
impostor, ~ra, adj., deceitful.
igualmente, adu., equally.
impotente, adj., impotent.
leso, adj., unharmed.
itiminar, to illuminate; adorn
imprimir, to impress, stump;
with festal lamps.
impose.
JuBifa, /., illusion.
iustre, adj., illustrious.
denly, unexpectedly.
magen,/., image.
impudente, adj., shameless.
imaginar, to imagine, believe.
impulBO, m., impulse; impact.
impasible, adj.. impassive,
impuro, adj., impure.
unfeeling.
inaccesible, adj., inaccessible.
impeler, to drive; drift.
inadvertido, adj., heedless.
careless.
impexar, to rule, reign.
inagotable, adj., inexhausti-
Imperial, adj., imperial.
ble.
imperio, m., empire.
inanimado, adj., lifeless.
bnpetu, m., impetus, momen-
inaudito. adj.. unheard of, ex-
tum; impetuosity.
traordinary.
Impetuoso, adj., violent,
Inca, pr. n. (a noble among
fierce, impetuous, spirited;
the ancient Peruvians. The
swift.
empire of the Incas was
impiedad, /., Impiety, impi-
OBertkroicn by the Spaniards
Dusness, irreligion.
under Pizarro, ■who entered
^^- im[da, adj., impious, wicked.
Peru in 1531- The capital
^^K implacable, adj., implacable.
of the Incas was Chech,
^^1 , implorar, to implore, entreat.
1
i
1 1 ,OQQ feet above sea-levtl, — -
^^^^^P VOCABULARY 3S3
■ The AOec Empire and Ihr
1 Empire of Ihf Incas vere the
anger.
H two civilizal slalts in A mer-
indignado, p.p., indignant,
H ica ai the time 0} Ike dis-
angry.
■ c<»eTy).
indigno, adj., disgraceful.
V incansable, adj.. unwearied.
indio, adj., Indinn.
incauto, adj., unwary.
incendiar, to set on fire.
indficU, adj., unruly.
incendio, m., fire, conflagra-
tion.
inddmito. adj., unconquercd.
■ incensaiio, m., censer.
industria,/.. industry, labor.
H indenso, m., incense.
inefable, adj., ineffable, un-
■ inderto, adj.. ioconsUnt; un-
utterable.
H certitin, doubtful.
inerme, adj., defenceless, un-
armed.
■ indinar, to bend, bow; rtjl. to
inerte, adj., inert, sluggish;
r bow.
paralyzed.
inclito, adj., renowned, illus-
In^a, pr. n. J., Inez.
trious.
ineihausto, adj., unex-
incfignito, adj., unknown.
hausted.
incoostante, adj., fickle.
L indedBifin,/., irresolution.
guishable.
■ indeciso, adj., undecided, hes-
iofame, adj., infamous.
V itating; indistinct.
infamia. /., infamy.
" indefenw, adj.. defenceless.
infandtt, /., infancy.
infando, adj., unspealcable.
indUno, adj., Indian.
infanta,/., princess.
Indias, pT. n. f. pi., Indies
infantil, adj., childish, infan-
■ (East or West).
tile.
infatigable, adj., indefatiga-
^B with indifference.
ble, unwearying.
V indfgena, adj., indigenous.
infecto, adj., tainted, cor-. 1
W native.
^^m
■ indieenda, /., poverty.
iofeUce, poelic/or iofeUz. ^H
384 VOCABUL.\KY ^^^H
infelix, adj., wretched, un-
inmortalidad,/., immortality.
happy.
inmfivil, adj., motionless; un-
iafestsr, to infest.
shaken.
infiemo, m., hell.
inmtuido, adj., unclean, dirty.
infinito. adj., infinite.
inmutable, adj., immutable,
inflamarse, to blaze; become
unchangeable.
inocencia, /.', innocence.
ing, scorching.
Inoceate, adj., innocent.
inflexible, adj., inexorable.
influjo, m., influence.
inquieto, adj., restless, un-
informe, adj., shapeless, [orm-
easy.
less.
inquietud,/., restlessness.
infoTtunio, m., misfortune.
insadable. adj., insatiable.
infiingir, to violate, break.
infundir, to inspire.
inEano, adj., mad.
ingenio, m., mind.
iiiGcripciSii, /., inscription.
ingenuo, adj., ingenuous,
insecto, m., insect.
open-hearted, free.
inseoaatez, /.. folly; stupidity.
Inglaterra, pr. n., England
insensato, adj., stupid, mad.
{area 0} England proper.
iosigne, adj., distinguished,
50,000 square miles; poptt-
famous.
lalion, 31,000,000).
insignia,/., badge, decoration.
inglSs, -esa, adj., Enghsh; «.
m., Englishman.
insondable, adj., unfathoma-
ble.
mgrato, adj., ungrateful.
inspiraciCn, /., inspiration.
mhiesto, adj., erect, raised.
inspirar, to inspire.
mbiunano, adj., inhuman.
instante, m., instant.
injuBto, adj., unjust.
instar, to urge.
inmensidad, /., immensity.
instinto, m., instinct
inmenso, adj., immense.
insultar, to insult.
imnoble, adj., immovable,
intencifin, /., intention, pur-
^a
pose.
^H inmortal, adj., immortal.
Ik
intentar, to try, attempt.
^^^^v
1
^^^^^^^ VOCABULARY 385
^H Intento, m., purpose, mean-
iris, ,„.. rainbow.
^H ing; esforzai el inteato, lo
irresistible, adj., irresistible.
^B make every effort.
irritar, lo excite, vex.
inteiis, m., interest, advan-
izar, lo hoist.
Uge.
izquierdo, adj., left.
interesar, to concern; be of
Iztacdhual, or Iztaccihuatel,
advantage to.
pr. n., Iilaccihuatl (a lofty
interior, adj., interior, inward,
tnoutUain of valcanU arigin
from within; n. m., interior;
in Mexko.jusl norlh of Po-
soul.
pocatepetl, about 40 miUs 1
Intemunpir, to interrupt.
southeast of the City of Mex-
intervalo, m., interval.
ico, and only a feiii miles
faitimo, adj,, intimate, secret.
wisl of Cholula; height, about
17,000 /erf).
less.
tatrSpido, adj., dauntless.
J
intrincado, adj., tangled. ^
introduGcidn, /., introduction.
jab*all, m., wild boar.
inulto, adj., unavenged.
ja!de,urf;., bright yellow, cro-
inimdar, to flood.
cus-colored.
inflta, adj., useless.
jamfis, adv., ever, never.
invasor, m., invader.
Jano, ?--.«. m.. Janus. (.The
inTectiva,/., diatribe.
skrim of the Roman god
invencible, adj., invincible.
Janus, which formed an en-
inTestlgar, to investigate, ex-
trance lo the forum. v,as
amine.
closed only in time of peace.)
iavjemo, m., winter.
Jarama, pr. n. (a river th^
invisible, adj., invisible.
empties into the Tagus near
invitar, to invite.
Aranjuez. It forms the
ir, to go, go on, proceed; ir
boundary line between the
S, be about to, going to;
provinces of Madrid and
^^ jqnien va? who goes there?
Guadalajara).
^L rej)., to go away, depart,
jarcia,/., rigging, shrouds.
B in,/., anger, ire.
jaidin, m., garden.
^V 386 VOCABUL.4RY ^^^H
Jarift,fr«./.
of St. John the Baptist by
jaspe, «., jasper.
the Roman Cathnlic Church.)
jazmin, m., jasmine; jasmine-
jlibilo, m., rejoicing.
flower.
jubfin, m., doublet.
jefe, «., chief, leader.
Judas, pr. «. ,n.
jweiano, urf/., of Jerez.
juego, m., play, game.
Jesucristo, pr. n. m., Jesus
juez, w , judge.
Christ.
jugar, to play, frolic.
Jesfis, pr. «. m., Jesus,
j«go, m., sap, juice.
Jetafe, pr. n. (a village S mi^ci
juguetSn, -ona, adj., frolic-
louiA 0/ Madrid).
some, playful.
Jfcara,/., chocolate-cup (jma/;
juicio, m., judgment.
w «ie).
JtiUa,^'.«./.
JimeM, ?r. «. /. (Fr.^h
junco, m., rush.
ChimSne; imje oj Ike Cid;
Junln, pr. n. (an elevated pla-
an earlier JimenEi was the
teau, 13,000 feet above sea-
motheT of the legendary Ber-
level, in Peru, where the
njirdo del Caipio [in 'sik
Spaniards were defeated by
century]).
the Spanish-Americans un-
jiiiete, m., horseman, rider.
der Bolivar in 1824. There
Job, pr. «. m. {the hero of the
are also a village and a lake
Book of Job, who symbolized
of the same name in the dis-
the pious and patient suf-
trict).
ferer).
juntar, to join, unite.
Jornada,/., journey.
junto, adj., together; junto 4,
Jo8e,^r.„.«., Joseph.
near, close to, beside.
jota,/., a populardance.
jtiramento, m., oath. 1
joren, adj., young, youthful;
jurar, to swear.
n. m. and f., youth, young
man, girl.
justicia, /., justice.
joy el, m., valuable ornament.
justiciero, adj., just, up-
Juan, pr. n. m., John; San
right.
Juan, St. John. (June 2^ is
justillo, m., waistcoat, jerkin.
consecrated to the Nativity
juGto, adj., just, righteous.
VOCABULARY
387
jtnrenil, adj., youthful.
juventud,/., youth.
juzgar, to judge, deem.
kepis, m., shako, soldier's cap.
labio, m., lip.'
labor, /., labor, task; needle-
work.
laborioso, adj., industrious,
hard-working.
labmdor, m., farmer; farm-
hand, plowman.
labrar, to construct; carve
{stone) \ iabrado, wrought,
worked, carved.
ladera, /., slope.
lado, m., side.
ladrar, to bark.
lago, m., lake.
Ulgiima, /., tear.
Lafs, pr, n. /., Lais (the name
of two Greek courtesans
noted for their beauty and
licentiousness).
lamentable, adj., deplorable.
lamentar, to lament, bewail.
lamento, m., cry, wail, lament.
lamer, to lick, lap.
Umpara, /., lamp.
lance, m., adventure; risk.
lancero, m., lancer.
Ubiguldo, adj., languid.
lanza, /., lance, spear.
lanzar, to launch, hurl; cast;
loose, give up; utter.
lares, m. pi., home.
largo, adj., long; lavish.
larva,/., mask, shell; larva
lascivo, adj., lascivious.
laso, adj., weary.
ULstima,/., pity; pitiful object;
wound.
lastimero, adj., mournful.
lastimoso, adj., doleful.
lata,/., tin-plate; hoja de lata,
tin-plate, tin.
latido, m., throbbing, palpi-
tation.
ULtigo, m., whip.
latin, m., Latin.
latino, adj., Latin.
latir, to throb, beat.
laurel, m., laurel.
lauro, m., laurel; glory.
lavar, to wash, cleanse.
lazada, /., bow-knot, knot.
L&zaro, pr. n. m., Lazarus
([i] the name given by Jesus
to the poor beggar in the
parable, Luke xvi, 19-31;
[2] the brother of Martha and
Mary whom Jesus raised
from the dead, according to
John xi and xii).
^H 388 VOCABULARY
lazo, m., knol; bond, tie; bow;
letal, adj., lethal, deadly.
snare.
letra, /., writing, inscription;
leal, adj., loyal, true.
short poem with a refrain.
lealtad,/., loyalty.
letrilla,/., short poem, usually
leccidn,/., lesson, example.
set to music.
lector, -ra, m. aitd /., reader.
levantar, tr. lo raise; intr. lo
lecho, m., bed, couch.
arise; refi. to rise, arise.
ledo, adj., cheerful, glad.
leve, adj., light, slight.
leer, to read.
ley, /., law.
I^ganitos, ^r. fl. (TAeinoate
Lfbano, pr. 11., Lebanon (Ihe
de LeganitOG is in the noHh-
li'eslcrn and higher of two
weslern pari of Madrid).
mountain chains in Syria,
iBgifo,/.. legion.
once notedfer Us ^ne cedars).
lejano, adj., distant.
lejos, adv., far, far away; &
rent; ni., member ot the
lo lejos, in the distance; de
liberal political party.
lejos, desde iejos, from
afar.
libra,/., pound.
lenpia, /., tongue.
librar, to free; rejl. to escape.
lei^pjaje, m,, language.
Ubre. adj., free.
speech.
librea, /., livery.
Ucencia, /., permission.
lentitud, /., slowness.
Ud,/-, combat, fight.
lento, adj., slow.
LdiM,ir.,tofight(6««j);ia(f. ,
leflo, m., ship, vessel.
to fight.
Ie6ii, m., lion.
Uebre,/., hare.
Lefin, pr. n. (a jormer king-
lienzo, m., linen doth, linen.
dom in northwestern Spain,
Lieo, pr. n. m.. Lyaeus (/Ae
which united defimtely -with
god who frees from care; a
Castile in 1230, under St.
surname of Bacchus).
Ferdinand).
ligeramente, fldi., lightly,
leones, -BSa, adj., of Leon,
gently.
Leonese.
ligereza,/., celerity, swiftness,
Leonor, pr. n./., Eleanor.
agility.
^^^^^^^ VOCABULARY 389
^m ligero, adj., light, ddirale;
lobreguez,/,, obscurity, dark-
^^K
ne^.
^H UUbeo, fir. M., Lilybaeum {Ihe
loco, orf/., mad, crazy; wild;
^H dMMW^ name »/ Cape Boco
n. m., madman.
^^H (K fJK western enlremily of
locoinotora, /., locomotive.
^V ^tcilji).
locura./., madness, folly.
^B Hsu, /., file; lima Eorda,
lograr, to succeed, gain.
^^V file blunted with lead 5a
logrero, m., usurer.
^1 as to make its action
loma, /., ridge.
^H noiseless.
loOH,/., canvas.
Umitnr, to Iwuntl.
lontananza, /., distance.
Ifapido, od]., limpid, clear.
losa,/., slab, heavy stone; pi.
Bmpio, adj., dean, stainless;
pavement.
clear.
lozanear, to act or speak
Biuje, m., lineage, race.
proudly.
Hndeio, w., limit, boundary.
loiano, adj., luxuriant, vigor-
lindo, adj., pretty, fair.
ous.
HllM,/.,lme.
lucero, wi., bright star, star.
Hra,/., lyre.
luciente, adj., shining.
Brio, m., lily.
lucir, Ir. to display, show;
^^_ lis, J., fletu--de-lis (lAc emblem
iiUr. to glitter, shine.
^L <!^ Ife royoi /om^/y of
Lucreda, pr. ti. /., Lucretia,
^H i?r<»K«).
Lucrece {Ihc most famous
^^BKfflja,/,, flattery.
heroine in early Roman his-
UBonjero, adj., flattering;
tory. After haling been rav-
agreeable.
ished by Sexlus Tarquinius,
liBtado, p. p., streaked, striped.
one of the king's sons, she
^^ listdn, m., ribbon.
related the fads to her fallicr
^^ litera,/,, litter.
and to her husband, and then
^V Uviauo, od/., light; frivolous.
killed herself).
^H VMdo, adj., iiv\d.
lucha,/., struggle, strife.
^^ loar, to praise.
luchar, to struggle.
lobo, ».. wolf.
ludibrio, m., mockery, scorn.
Ubrego, orfj., murky, dark.
^^^^
V
1
^^V 390 VOCABULARY
luegO, adv., at once, immedi-
knock, tap; jcfimo te lla-
ately; next, then, besides;
mas? what is thy name?
luego que, as soon as.
lUnoia, /., simplicity.
luei^o, adj., long.
llano, m., plain.
lugar, m., place, spot.
Uanto, m., weeping, tears.
lugubre, adj., sad, gloomy.
llanura, /., plain.
Luis, pr. n. m., Lewis.
Uave, /.. key.
hijo, m., luxury.
Uegar, to arrive, come; Uegar
Injoso, adj., showy, luiu-
a, reach; Uegar L hacer,
rious.
succeed in doing.
lumbreda, /., bonfire.
llenar, to fill.
lumbre,/., light.
Ueno, adj., full, filled.
luminoso, adj., luminous.
Ilevar, to carry, carry away,
luna,/., moon.
bear, take; wear; endure;
Lutero, pr. n. «., Luther.
lead; Uevarse algo, take
luto, m., mourning, grief.
something away.
Ivx, /., light; lighted taper or
llorar, tr. lo mourn for, weep
lamp.
for; intr. to weep; mourn.
Luibel, pr. n. m.. Lucifer (Ike
lament.
iHoruing star. In Isaiah
Iloro, m., weeping, sobs.
«!i, 12, them words occur:
Iloroso, adj., tearful, weeping.
" HeTi> art Ikou fatUn from
lluvia,/., rain.
Heaven, 0 Lucifer, son of
tkenwrnins-" This passage
M
was understood to refer to the
fall of the rebellious arch-
madeja,/., skein (of thread);
angel from heaven) .
jigAock (of hair).
inadera,/,, wood; timber.
U
niBdero, m., beam.
madre, /., mother.
Uaga, /., wound.
Uagar, to wound.
Madrid, pr. n. (capital ef
llama,/., flame-
Spain; en the plains of jVew
Uamar, Ir. lo call; mtr. to
Castile, 1150 feel above Ike
-J
^^v
^
^^^^^■^ VOCASUIAKY 391
^H sea; population, about 550,-
ish-Americans defeated the
^H 000. Madrid first apptars
Spaniards in 1818).
^H i» history in the tenth mi-
raafa, IB,, maiie, Indian corn.
^K, (wy OS a fortified OHtposI of
majeslad, /., majesty; divin-
^B the' Moots, intended to check
iiy.
^H lAo advances of Ikr Christian
majestuoso, adj., majestic.
Spaniards. It was lakei by
mai, adv., badly, ill; hardly;
the Spaniards undir Alfonso
«. in., evil, truubie, disease;
VI of Castile and Udn in
faacermal, to harm, hurt.
^^ 1083. Philip II. in 1560,
^^ seUcled Madrid as Ms capi-
malbaratar, to sell out cheap,
^^B lal, and U has been the cap-
dissipate (j/or/»<ie).
^H Ual ««■ since, except for a
maldecir, to curse; p. p. mal-
^H time in the reign of Philip
dito, accursed, confounded;
^H III, when the royal head-
perx-erse.
^H quarters were at ValladaUd).
maldidfin, /., curse; damna-
^^Btnadnigar, to rise early, begin
tion; de maldicidu, cursed. .
^m earty.
maleza, /., underbrush.
^■ilueBtro, -a, m. and /.,
maligno, adj., malicious.
^^V teacher.
malo, adj., evil, bad, wicked.
^™'M«fidalMia, pr. n.f., Magda-
maltrecho, adj., ill-treated.
len, Madeleine. (TfeMag-
abused.
dalMUl ftti«f is the largest in
malva, /., mallow.
Colombia, South America.)
inalvadD, «»., criminal, scoun-
mi^,/., magic.
drel.
mlgico, adj., magical, magic.
Mamnfiii, pr. >!., Mammon
{ = riihes, or the god of
nugnate, m., magnate.
riches).
magnfflco, adj., splendid.
iMgnllitr, to mangle.
manada, /., flock, herd.
Uaipo, or Maypu, pr. n. (0
manantiai, m., spring, source.
^B plain between the cities of
^^H Santiago and San Bernardo,
youth.
^^M in Chile, where the Span-
mancha,/., spot, stain.
^r 392 VOCABULARY ^^^^^^|
manchar, to stain.
through Madrid and joins
numdar, to command, order;
the Jarama, which in tarn
send.
joim the Tagus [Tajoi).
mando, m., authority, power.
mafia, /., craft, cunning; skitl.
mafiana, adv., lo-morrow; n.
iiianejar, to wield.
/., morning.
manera,/., manner, ivay.
mar, w. {and poetic /,), sea.
maneB, m. pi., manea, spirit,
ocean.
ghost.
marasmo, «., wasting disease,
nwmida, /., abode, dwelling-
weakness.
place, nest.
mararilla,/., wonder, marvel;
manifestar, lo declare, state.
fi maravilla, wonderfully.
maniflesto, adj., evident.
marcha, /., march; [en mar-
clear.
chal move on! ,
manjor, m,, food; dish.
marchar, to go away, depart;
mano,/., hand.
advance, proceed; walk.
manosear, to finger, stroke.
marchitarse, to wither, fade.
marchlto, adj., withered.
inansi6ii, /., mansion, abode;
faded.
stay; hacer mansidn, to
margen, m. and /., border,
stay, sojourn.
shore.
manso, adj., quiet, gentle.
Margot. pr. n., Marget.
mantel, m., tablectoih.
Maria, pr. 11. f., Mary.
mantilla, /., mantilla {lace
marido, n., husband.
scarf used as a headdress).
marinero, m., sailor, mariner.
manto, «., cloak, manUe.
marino, tidj., marine.
Mantua, fr. b. (0 city of Lom-
mariposa, /.. butterfly.
bardy, Italy, taken by the
mann6rea, adj., marble, of
French in 1797. after a fa-
marble.
mous siege; also a poetic ap-
marta./,, marten fur.
Mh- pellation of Madrid.)
^* Honuel, pr. n. m., Emanuel.
Marte, pr. n. m., Mars Qhe
Roman god of war).
Manianares, j/r. n. (an iin-
martUlar, to hammer.
imporlanl rher -j-'kich passri
martillo, m., hammer.
^^
^1
^^^^r^ VOCABULARY 393
■ Marttaei, ^r. .,,
medida,/., measure; Smedida
^P mSnir, m. and J., martyr.
que, according as, in pro-
martirio, tn., torture.
portion as.
muzo, m,, Maicb.
medio, m,, middle, midst; en
mas, canj., but.
medio de, in the mid^t of.
mis, adv., more, most; an-
among, in company with.
^^ other, 01 her; la&s bien,
mediodla, m., noon, noonday;
^m rather; no m&s. only; por
south.
^1 mfis que, however much,
medir, to measure.
^K although.
meditar, to meditate, intend.
^H mascarada, /., masquerade.
medrosameote, adv., timidly.
■ m4stel, m. (ar^A. for maste-
medroso, adj., timid; dread-
^F lero), topmast.
ful.
mastio, M., mastiff.
Mejico, pr. n. {the spMing
nuitauua, /., slaughter, but-
ttsed ojicially by Ike Mexi-
chery.
can gavernment is Mfixico,
matar, to bill.
but the papular spelling is
!
Hftteo, pr. n. m., Matthew;
Mijico), Mexico (the only
San Mateo (a lovsn in ike
large Spanish - A merican
districtoj La Victoria, Vene-
country in North America;
H^ suela).
area, 767,000 square miles,
^m aiateria,/., matter, material.
or more than three times thai
^B msternal or matemo, adj..
of France; population, about
^^M maternal, motherly.
15 millions, of ■u/hom Ikree-
^H BUtlta, /., sprig.
fourlhs are Indians or of
^H BUtii, m., hue, tint.
mixed blood. The scenery
^H matrona, /., matron.
of Mexico is very beaulifui.
^V maro, ffi., May.
and the climate of the ele-
^B mayor, ad,., larger, greater;
vated central plateau is
^H largest, greatest; ». nt. pt.,
unexcelled. The City of
^H ancestors, forefathers.
Mexico is 7350 feet above
^H mecer, to stir, sway, rock.
sea-level, and has some
^^K Ueco, ^. n. (a village 25 miles
450,000 inhabitants).
^H northeast 0/ Madrid) .
mejilla,/., cheek.
i
1
394 VOCABULARY ^
mejor, adj. and adv., better,
merecer, to deserve. *
beat.
mes, m., month.
melancfilico, jdj., melancholy.
mesa,/,, table; fare, v^
melena,/., long locks of hair;
mesmo, arch, for ■
melindroao, adj., finical, fas-
meaura, /., civUity; mi
tidious.
tion; gravity. '
melodioso, adj., melodious.
meta,/., goal.
melSn, m., musk-melon, car-
meter, to put, fix; met«(
tel oupe.
to enter. i
meloso, adj., honeyed, sweet.
metrfipoU,/., metropoHJ
roemoria, /., memory.
Mezicano, adj., Meidca
mendigo, m., beggar.
Mexico, see Mfijico. \
menear, to stir, move, ply.
mezdar, to mingle. •
meogua, /., shame.
mezquino, adj., petty,^
menos, adv., less, least; S lo
wretched, unhappy 1
menos, at least; ni menos.
meamm) '
still less; prep, except.
mezquita,/ , moique \
menospredar, to despiae.
jfcre several masgin
mente,/., mind, thought.
Granada The one 1
mentir, to lie, tel! a falsehood;
mentido, false.
ferrtd lo at p 2, I \
mentira, /., lie, faisehood.
the mezquita real, it
mentiroso, adj.. lying.
mosque buill by, UohA
menudo, adj., common, insig-
IlleartytnlhetMhi^
nificant.
It -was removed in ij)!
mercader, m., merchant,
part of its site is o^
tradesman.
now by the church afi
Maria.) J
mercado, m,, macbet, market-
place.
miedo, m., fear; dar rati
mercancia, /., merchandise.
to frighten.
nierced, /., reward; fi merced
miel, /., honey.
de, at the mercy of; pi.
miembro, m., limb. J
thanks.
J
^ VOCABULARY 395 ^^^
que, conj., while; mientras
hapless; mean-spirited; n.
no, until.
m., scoundrel.
miBB, /., ripe wheat or other
miserablemeate, adv., wretch-
graio; harvest; pL grain-
edly.
fields.
miseria, /., misery, wretched- ,
mil, one thousand.
nesa; destitution. j
militar, adj., mUilary.
mfsero, adj., miaerable,
Milton, pr. n. (John MUton
wretched; destitute.
[160S-1674I, an eminent
mismo, adj., same; very, own:
English poet).
lo mismo, the same thing;
iiiina,/,,mine.
lo mismo que, the same as,
just as.
Minerva, /i-.n./. {Se^ under
misterio, m., mystery. ^^J
Palaa.)
misterioso, adj., mysterious. . ^^^H
miniBtro, m., agent, subordi-
mlslico, adj., mystic. ^^^|
nate.
mitad,/., half; middle. ^^M
mirada, /., glance.
miradero, m., watch-tower.
lookout; (Miradero of To-
li.39°^-i*^4], a great war j
ledo, an eleiiated protnenade,
chief of ancient Mexico, who
in the northeastern part of
conquered much territory and
the city, and command-
had himself declared em-
ing a beautiful view of
the Vega and the plains be
rS2ol, emperor of the Aztecs
yond).
at the lime of the Spanish
conquest). '
room fropi which a fine view
moda, /., fashion.
is obtained).
modelo, m., model, pattern.
mirar, tr. to watch, see, look
moderar, to moderate, curb.
at, gaze at; inlr. to take or
moderno, adj., modern.
keep watch.
modestia, /,, modesty, hu-
Mirta,?r.«./., Myrtle.
mility. 1
mirto, m., myrtle.
modesto, adj., modest, un--
miaerable, adj., miserable,
pre tending. .j
^V 396 VOCABULARY ^^^^^^^^
^H modo, m., method, manner,
Spanish Monte Blanco),
^V way exieiil de modo que
pr. H. m., Mont Blant (i.i
■ so th...
France, about 40 miles
modorra, /., drowsiness, stu-
south of Lake Geneva;
por.
height, 15,781 >e().
modular, to sing with ease
montero, m., tracker.
and variety, moJulaie,
mojor, to wet, moisten.
morada, /., abode.
mojino, m., hinny.
mole,/., mass, bulk.
morador, m., inhabitant.
moraicel, m. (.an unknevm
Btant.
word, probably from some
momiTGa, m., monarch.
derivative of the Arabic root
Uoncajo, pr. n. (a lofly
rsl, "to send"; as mursal,
mountain 60 miles west of
"envoy"; murasil, " eorrt-
Saragossa, ■which marks Ihe
spondent "; or mirsfil, " mes-
point oj union oj the an-
senger").
cient kingdoms of Aragon,
moral, m., mulberry- tree, .
Navarre, and Castile).
Moratin, pr. n.
Mondova, pr. n. (usually
morder, to bite. '
spelled Moncloa. The pla-
morena,/., dark-haired girl. '
za de Honcloa is in the
moreria. /., Moorish quarter
north-western pari of Ma-
ofa.ity.
drid, not far from Ike School
moribundo, adj., dying.
of Agriculture).
morir {p. p. muerto), to die,
monje, m., monk.
perish; re^. to die.
jnonStono, adj., monotonous.
morito, m., little Moor.
monstruo, m., monster, hide-
moro, adj., Moorish; n, m. and
ous creature.
/., Moor, Moorish woman.
mortal, adj., mortal, deadly;
montar, to mount, ride.
n. m., mortal, being.
monte, m., mountain, mount;
mosquear, to twitch.
^^^^ pi., wooded hills.
^^t. Mont-BlaDC {French name; in
bundle of branches or pieces
^r
^
^^^^^r VOCABULARY 397
^H of paper, fastened to a stick.
m]ierto, p. p. of morlr, dead;
^V to frighten away fiies; by ex-
also, equals matado.
^^^ letision, any object, orna-
muestra, /., muster; pasar
mental or otkeriche, used to
muestra, to pass in review.
drive fiies away).
mujer,/.. woman.
muladar, m., dunghill.
mOBtrai, to show, disclose.
multitud, /., multitude.
mote, m., motto.
throng.
mover, to move, stir, impel;
mullido. p. p., soft, downy.
J
^_ brandish; mover guerra.
mundanal, adj., worldly, of _
J
^L make war; refi. to mo^■e.
[he world. J
■
^K movible, adj., moving, chan^'-
mundo, m.. world. 1
■
V
mufleca,/., doll. 1
■
mtiraUa,/., wall.
^
motion, power of muiion.
murcielago, m., bat.
moza, /., girl.
murice, m., murex (mollusk
mozo, HI., youth, lad.
which furnished the Tyrian
1
muthacha, /., girl.
pnrplc); puip]e.
mochscho, m., boy, tad.
murmullo, m., murmur, rip-
ple.
^H mob, throng.
munnurar, tn murmur, purl;
^L macho, adj., much, ereut.
grumble, find fault, criti-
^H many; adv., much, fur,
dze.
■ very.
muro, m.. wall.
mndamente, adv., in silence.
musa, /., muse. (Zm Greek
mndanza, /., change, vuria-
mythology, Ike muses wtre
Ihr inspirers of song and
^_ mudar, to change, alter.
music. According to later
^K mndo, adj., dumb, mute, si-
Greek writers the muses were:
^H
Clio, history; CaUiope, epic
^H siuela,/., molar tooth; mal de
poetry; Polyhymnia, seri-
^^1 mnelas, toothache.
ous sacred song; Euterpe,
^B muelle, oJj., soft; voluptuous.
lyric poetry; Terpsichore,
^H mnerte, /., death.
the dance; Erato, erotic
J
VOCABULARY
poetry; Mdpomene, tragedy;
Thalia, comedy; and Ura-
nia, astronomy.)
mlisculo, m., muscle.
musgo, m,, moss.
mliEiEa, /., music; band, or-
mustio, adj., sad, languid,
tnuGulmin, m., Mussulman,
mutuo, adj., mutual.
muy, adv., very.
N
Nabucodonoaor, pr. n. m.,
Nebuchadnezzar [the great
king [rided b. c. 604-561?)
of the Neo-Bahylonian em-
pire, Tt'ho conquered a pari
oj the Assyrian empire,
Syria, and a pari of Egypt.
He inas not only a great
warrior, but also a great
builder. Nebuchadnezzar
look Jerusalem and carried
many of the nobles and
leaders into captivity. For
this he was punished, ac-
cording to Daniel iv, a, in
I driven jn
L
and did eat grass as
to be born, spring up.
arise; begin; bien nacido,
of noble birlh, well bred.
naciente, adj., growing.
nacifin, /., nation.
nacional, adj., national,
nada, /., nothingnes.s, noth-
ing; indef. pron., nothing.
nadie, pron., no one, any-
nao,/., ship, vessel.
napolitano, adj., Neapolitan,
naranjo, tn., orange-tree,
nariz, /., nostril,
natal, m., birthday,
nativo, adj., native; inborn.
natural, adj., natural.
naturaleza, /., nature.
naufragar, to be wrecked, suf-
fer shipwreck.
navaja,/., {large) knife, clasp-
nave,/., ship, vessel; nave.
navegante, m., sailor.
navegar, to sail.
navfo, m., vessel, ship.
neblina, /., mist, fog.
necesaiio, adj., necessary,
needful.
neceEitar, to need to, must;
need, require.
nectfireo, adj., of nectar.
negar, to deny, refuse.
negociar, to drive a bargain.
VOCABULARY
blac
I
I
negro, adj.
gloomy; n. m., negro.
nel, an arch, form for en el.
Nemrod, pr. n. m., Nimrod
(" a mighty our in tkt
earth " and " a mighty
hunter before the Lord "
{(hrtesis X. 8-9I].
Netzhoalcoyolt, or Nezaliual-
cofotel, pr. n. w. ([?i403-
1470], o *'«« of ancicHt
Mexico, knoivn as " Ike
great and wise." He wrote
odes and hymns, some of
which, it is said, were trans-
lated into Spanish).
ilMVadO, p. p., snowy.
., neither, nor, not
(»« iiUerrogatian) or;
no s6 ni, I do not even
Hiigaia, pr. n., Niagara (Hi-
Hgara Falls; height of fall,
160 feet; volume of water,
180,000 cubic feet a second.
Not the height of the fail,
bat its width, and the great
volume of water, make Ni-
agara notable).
idcho, m., niche, recess.
niiio, m., nest.
niebla, /., fog, mist.
nleto, m., descendant; graad-
, /.,
iw; {poetic) I
white
niftez, /.. ihildhood.
niflo, -a, m. and!., child, boy,
girl; desde nifloE, from
childhood; muy niflo, very
younc
noble, adj. and 11. m,, no-
blc-
nobleza, /,, nobility.
noctumo, adj., nocturnal, is-
suing by night; n. m., noc-
turne, serenade.
noche, /., night; de noche, at
night, by night; Noche-
Buena, Christmas Eve.
nogal, m., walnut-tree.
nombrai, to name, mention.
nombre, m., name, renown.
nopal, n6pBlo, m., nopal, co-
thineal cactus, prickly pear
□orte, m., north, north wind.
notar, 10 note, detect.
notario. «., notary,
noticia, /., news,
noticloso, adj., informed,
notoriedad, /., notoriety.
nubairdn, «., heavy, dark
nube, /., cloud.
nublado, p. p., clouded.
w
^
^V 4CX> VOCABULARY
^H nublarse, to be covered by
ocaso, m., setting, west.
^P douds.
ocddente, m., west, Occident.
H^ Duca, /., nape of Lhe nceic,
oceano, m. {the siren is ojlm
neck.
made to jail on the penult),
nudoBO, adj., knotty; slout.
ocean, sea.
HuBTH York, pr. n.. New
ocio, m., leisure, idleness.
York.
oraltar, to hide, conceal.
nuevo, adj., new; de nuevo,
octUto, adj., hidden, secret.
anew, again.
ocupar. to occupy.
numen, w., inspiration.
oda, /., ode.
numeroso, adj., numerous.
odiar, to hale.
nunca, adu., never, ever.
odio, m., hate, hatred. 1
nuncio, m., messenger, har-
odioso, adj., hateful. 1
binger.
ofender, to offend, anger.
nutiir, to nourish.
ofenaa, /., offence; hacer
ofensa, to give oEfence.
0
ofrecer, to offer; display.
6, conj., or.
ofrenda,/., offering, gift.
ofuscar, to confuse, blind.
objeto, m., object.
darken; hide.
obligBCi6ii, /., obligation.
iohl inlerj., O! oh!
duty.
oldo, m., ear; hearing.
Obra,/., work, deed.
oir, to hear.
obscurecerse, to disappear.
ojaU, adv. and co»j., would
obsctlridfld, /., darkness.
that, God grant.
obscuro, adj., dark, gloomy;
ojeador, tn., beater.
i obscuias, in the dark.
ojiva,/., ogive, pointed arch.
ojo, m., eye.
tention.
Ola, /., wave, billow.
observar, to observe, scru-
oler, to smell of, sniff.
tinize, watch.
oliva, /., olive-tree, olive 1
^^ ocasifin,/., opportunity, occa-
leaves.
^K
OUvares, pr. n. {See note to
L ^^
p. IS.)
VOCABULARY 401
olmo, m., Elm-lree.
oibe, m., orb, heavenly body;
olor, w., scent, perfunip, odor;
earth.
de olor, odoriferous.
orden, /., order, command;
order {of knighthood, or
forgotten; forectful.
mUitary).
olvido, «., oblivion, forgelful-
ordenar, to order, command;
tiess; poner en olvido, lo
ordenar de, dispose of
forgei; poner olvido de, lo
at will; ordenado, well-or-
cause (0 forgcl.
dered, serried.
ominoso, adj., ill-omened.
orear, 10 blow upon.
omnipotenciB, /., omnipo-
oreja, /., car.
tence.
oifandad, /., orphanage, be-
reavement.
^_, tent.
orgla,/., orgy.
K onda, /., wave, ripple; pi.
or^uUo, m., pride.
m
orguIloso,fli(;., proud, haughty.
^1 ondear. to wave.
oriental, adj., oriental; n. m.,
^H opBCO, adj., opaque, thick;
a poem dealing with orien-
^H dim.
tal life.
^H opinio, adj., fruitful, rich.
oriente, m., east, orient.
^M oponerse (i), lo oppose.
origen, m., origin, source.
orilla,/.,shore,bank;edge;(t)
Opreaor, m., oppressor.
orillas de, on the bank of.
oprimir [p. p. oprimido aiid
Orinoco, pr. n. (a large river
0/ South Anitrica, flowing
^B whelm, crush; press; opri-
through Venctuela, except
^B mido, pressed, tight.
for a short distance, where U
^H oproblo, m., infamy, disgrace.
forms the boundary between
^V opuesto, p. p., opposite.
Venezuela and Colombia).
Orizaba, pr. h. {the highest
^V opulento, adj., opulent, rich.
mountain in Mexico; height.
■^ OM, adv., now.
iS,205feel; about 150 miles
oraciSn,/., prayer.
east of the City of Mexico).
oiOT, to pray.
oris,/., fringe, border.
^B 402 VOCABULARY ^V^I^^H
^H orlar, to border, edge.
paga, /., payment.
^H oroar, to adorn.
pagar, to pay, pay for; r^
^f oniato, m., ornament, adorn-
pay.
ment.
pagoda, /., pagoda, Indian
oro, f»., gold; gold coin; eomo
temple.
im oro, spick and span, fine
pajarillo, m., little bird, fledg-
as gold.
ling.
osar, to dare; osado, auda-
pijaro, m., bird.
cious, daring.
paje, m., page.
oso, m., beat.
palabra,/., word. '
OBtentar, to display, show.
palado, m., palace.
otro, adj., other, another;
Palas, pr. n.f., PaUas Athene
otro que d, also, likewise;
(.Rovtan Minerva; a Greek
imo r otro, both; unos . . .
goddess of [i| batiU and vic-
otroa, some . . . others.
lory, and later [2] oj learn-
Otrora, adv.; en otrora, for-
ing. The olive-tree was
merly.
sacred to this goddess).
otrod, adv., likewise, besides.
overo, adj., blossom- or peach-
pfilido, adj., pale, pallid.
colored (said oj horses whose
palma.,/., palm {of Ike hand);
cool is 0/ while hairs mixed
palm (tree); triumph; batir
luilh sorrel or bay).
las palmas, to clap the
hands.
palmar, m., palm-grove.
palmera, /., palm-tree.
palmero, m., pilgrim, palmer.
pacer, tr. to nibble, graze on.
palmo. m., span {eight inches).
paciencia, /., patience.
palo, ™., stick.
poclfico, adj., peaceful.
paloma,/., dove.
■ padecer, to suffer; n. in., suf-
palpitar, to beat, thrill, vi-
1^ fering.
brate.
^^B pftdie, m., father; pi. parents.
pan, m., bread.
^^H ^Wlrttii, m., model; column
panal, «., honeycomb.
^^H -with inscription.
pancista, «., one who tries to
p
^^H stand well with all sides,
^^^ trimmer.
pandorga, /., kiic.
pinico. adj., of Fan. (In
Greek mythology Pan wns the
god of herdi and shepherds
»and itncuUitated nature. In
\ ttrt he became attached to
r Bacchus.)
pantcra, /., panther.
panza,/., paunch.
pailo. m., cloth, hanging.
papel, m , paper.
par, adj., equal; S la par,
equally; n. m., equal, peer;
fi par, alike; a] par, equally;
& par de, besides,
para, prep., to, in order to,
toward, for.
paiada, /,, stop, halt.
paralso, m., paradise.
pfiramo, m., paramo (cold,
deserted plateau); (hence)
desert.
ParanS, pr. n. (a large river of
South America which emp-
ties inlo the Plata).
parHT, tr. to iitop; Inlr. to stop;
come out, end; reji. to stop.
parasite, adj., sponging, para-
sitical.
porcha, /., common name of
various flowers of the pas-
sion-flower family.
VOCABULARY
403
pardo, adj., dark gray, brown,
parecer, to appear, seem;
pareddo fi. like, resembling;
parecerse fi, to resemble,
pared,/., wall,
paj'entesco, m., relationship,
parias,/. pt., tribute,
paiiente, m., relative.
pfirpado, m.. eyelid.
parque, m., park,
parte,/., part, place; portoda
parte, on all sides.
party, supporters,
to split, cleave;
y, to set forth, de-
., passenger, pas-
partido,
pasajero,
ser-by.
pasada, /., passage, passing;
de pasada, on the way.
pasado, m., past.
pasar, to pass, happen; fuera
£ pasar, chanced to pass;
refi. to come to an end;
pasado, past; lo pasado,
the past, past things.
Pascua, pr. n. /., Easter.
pasearse, to walk about.
paseo, m., giut, walk.
pasi6ii, /., passion,
pasmar, tr. to astounri; intr.
to be astounded; reJl. to be
stupefied, stunned.
I
^H 404 VOCABULARY ^^^H
paso, m., step, tread, pnce;
pedazo, m., piece, part.
way; al paso que, while, as;
pedir, to ask, beg.
mover el paso, 10 pate;
Pedro, pr. n. m., Peter.
salir al paso, to tome to
pegado, p. p., close, clinging.
meet; adv., softly, gently.
Pelayo, pr. n. m. (0 leader of
pastor, m., shepherd.
the eighih century, who, after
pastorcico, pastorcUlo, m., a
the coming of Ike Moors.
liule shepherd.
took refuge ■with the remnanls
patata,/., potato.
of the Spanish army in
paternal, adj., 0! a. father, pa-
Asturias, and thence began
ternal, fatherly.
the iBOtk of reconquest. Los
paterao, adj., of a. father, pa-
Hijos de Pelayo = the
ternal, parental.
Spaniards).
patio, m., court, yard.
pelea,/., conflict, combat.
patria, /., country, native
pelear, to fisht, combat.
land
pehgro m danger peni
pena / h rdsh p pa n sor-
patria orfj na e
row -ifB ton trouble
patrQn patr n sa n
penacho m crest plun cs
pausado adj u aim
penar u suff r
Paria pr Pa a (a
pender 0 hang be us-
northern Italy Jikere I e
r ended
forces of Charles I of Spain
peDd6n w flag banner
aided by the Duke Of Bvu
pendulo n pe dulum
hort defeated the Fre ch and
penetrar to penetrate
capti red Franc si tn 535
pavor HI fear dread
pavorosa adj awful terr b e
pensar 0 h nk expect con-
paz, / peace truce
s der pensar en th nk of
pensativo adj pen e
pecado m sm
peaa / ro L {arge) stone.
pecho IB breast bosom
Iff
heart r bu c dar pecho
pefiasco m arge ock cl S
to pi> tr bute
peCn f foot sold er
VOCABULARY
40s
peor, adj., worse, worst.
pequello, adj., small, insigni-
ficant; Iff. Iff., child.
Peranzules, pr. n. m. (friend
and companion of Alfonso
VI at the court of Alimcnon
of Toledo).
perder, to lose, waste; ruin,
defeat; rejl. to be lost, dis-
appear.
perdiddn, /., destruction.
p^rdida, /., loss, thing lost;
perder una p^rdida, to
su£Fer a loss; perdido, lost;
wildly in love; far away {pj
sound).
perdonar, to pardon, excuse,
spare.
perdurable, adj., everlast-
ing.
perecer, to perish.
peregrino, adj., strange, rare;
ft. Iff., pilgrim, traveler.
perejil, m., parsley.
perejilera, /., parsley-gath-
erer.
perennal, adj., perennial, per-
petual.
perezoso, adj., lazy, idle.
perfecddn, /., perfection.
perfecto, adj., i>erfect.
perfidia,/., perfidy.
p^rfido, adj., perfidious.
peifil, m., profile, outline.
perfume, m., p>erfume, sweet
odor.
pergamino, m., parchment.
perjurar, to swear falsely,
commit i>erjury.
perla, /., i)carl; de perla,
jjearly.
permanecer, to remain, en-
dure.
permitir, to permit, allow of,
admit.
pero, conj., but.
perpetuamente, adv., forever.
perpetuo, adj., perpetual, con-
tinual.
perra, /., female dog, bitch.
perrilla,/., little dog.
perro, m., dog, canine.
perroso, adj. (coined word),
canine.
perseguir, to pursue, perse-
cute.
persona, /., person; grown
person.
personaje, m., distinguished
man.
perspicacia, /., sagacity, keen
sight.
Peril (el), pr. ;/., Peru (a re-
public on the west coast of
South America; area, about
700,000 square miles: pop-
ulation, about 4.000.000. c»/
whom probably not more than
m'
1
^H 406 VOCABULARY
^M 10 per crnt are wkUe. In
pienia,/.,leg.
^H Ptru and Mexico, where the
pieza./,, piece; animal igame).
^M ancient American cinUiza-
pilar, m., pillar, column.
^B tion had reached Us highest
pimpoUo, w., shoot.
^H developTneiil, the native races
pincel, m., brush.
^H have been most successful in
piagiie, adj., rich.
^F holding their euin. Lima,
the capital, is near the coast,
ered with pinea.
and has some 115,000 in-
Pino, m., pine.
habitants).
pintar, to paint; pintado,
penumo, adj., Peruvian.
painted, many colored.
perverso, adj., perverse.
pintoTBsco, adj., picturesque.
pesar, m., sorrow, grief; &
piBa, /., pineapple.
pesar de, in spile of; i mi
plo, adj., piebald.
pesar, in spite of myself.
piquets, /., pickaxe, pick.
peser, to weigh; cause regret;
pirfimide, /., pyramid.
pesado, heavy, slow.
pirata, m., pirate.
peso, m., weight.
Pirene, pr. n. m., Pireneos,
peslQente, adj., pestilcnlial,
pr. n. m. pi., Pyrenees (thi
noxious.
mountain range betiveen
peto, m., breastplate.
Spain and France).
pez, m., fish' (alive and in the
pisadof, m., prancing steed,
water).
charger.
piadoso, adj., pious, merciful.
pisar, to tread upon.
piar, to chirp, peep.
placentero, adj., joyftU, con-
picar, to prick, puncture.
tented; pleasing.
pico, m., pick; beak.
placer, m.. pleasure.
pie, m., foot; base; trunk (0/
pMcido, adj., placid, mild.
^^ a tree); los de & pie, those
plaga, /., plague, affliction.
^^^ on foot; de pie, standing;
planta, /., sole of the foot,
^^B 1 ponerse en pie, to stand up.
foot; plant.
^B piedad,/., pity; piety.
plantar, to plant; &x in.
^m piedra,/., stone.
plantel, m., nursery, garden.
^^M pi^lago, m., open sea, sea.
plaflidera, /., weeper, hired
E VOCABULARY
; de plafiideras, as pluma,/.
3. plumaje,
, adj.. Dlaintive. Po, Hr. i
407
plaU,/,, silver.
Plata, pr. h. m. (ike Bfo de la
Plata [SUver River], the
» broad esluary of the cam-
bitted Farand and Uruguay
rivers of South America, be-
tween Uruguay and Ar-
geatine. Monlenideo and
.•1
IF.
eslMary).
ttano, m., banana-plant,
banana.
pUtica,/., conversation.
Plat6n, pr. n. m., Plato (a
Greek pkUosopker [427-34;
B.C.], hern en ike island of
Ae^na).
aya, /., shore, beach.
|daza, /,, square, place; posi-
pUuo, m., fixed time, limit.
plebe, /., populiLce.
plebefo, m., une of the lom-
plectro, w., plectrum.
ptegar, to fold.
plegoiia, /,, prayer, suppjita-
plenitud,/., fulness.
pluma,/., feather, plume; pen.
plumaje. hi., plume, crest.
Po, pr. M. ((Ac largest river of
Italy; rises in the Alps,
fiovfs through Piedmont and
Lombardy and along the
southern borders of Veaetia,
and empties into Ike Adri-
atic).
poblar, to people, inhabit.
pobre, adj., poor; barren.
pobrecillo, adj., very poor,
very modest.
poco, adj., little, scanty; few;
adv., little, a little; ft poCO,
immediately; n. m., little,
podadera, /., pruning- knife.
poder, Lo be able, can, may;
no puedo tanto, I cannut
endure so much.
poder, n. m., power; haber
poder, to have authority.
poderfo, m., might, domin-
poderoso, adj., powerful,
mighty.
podredumbre, /., decay, cor-
poema, m., poem.
poesia, /., poetry, poesy.
poeta, m., poet.
politico, adj., politic, shrewd.
polo, m., pole.
polvo, m., dust.
■
^
^B 40S VOCABULARY
^B poma,/., apple; rubias po-
poitia, /., persistence, ob-
■ mas (de la patata), yellow
stinacy; hacer 4 porfia, to
^H tubers (nf the sweet po-
vie with one another in
■
doing.
^H pomo, m., Sask, vial.
porfiar, to persist, insist; con-
^B pompa, /., pomp, splendor;
tend.
■ ceremony, pageant.
porque, coiij., because, in
pomposo, adj., splendid, ma-
order that.
jestic.
portador, -ra, m. and J.,
poaderar, to exaggerate, ren-
bearer.
der emphatic.
porte, m., carriage, demeanor.
poner, to put, place; set down;
portento, m., prodigy, mir-
ponerse en pie, to arise,
acle.
stand up.
portero, m., gate-keeper,
poniente, adj., setting.
warder; usher.
poniofla, /., poison.
p6rtico, «., portal.
popa,/., stern; viento enpopa,
porvenlT, m., future.
fair wind.
pos, adv.; en pos, behind; en
Popocatepec, or Popocate-
pos de, after, behind; in
petel, pr. n.. Popocatepetl
pursuit of.
(0 volcano about 40 mites
posar, tr. to rest, let fall; inlr.
southeast of the City of
to rest, perch, alight.
Mexico height ij yS^feil)
popular adj popular of the
posible alj possible.
people
postendad / posterity, de-
for, prep for through along
scendants
across on it by to in
postigo m shutter
over; m order to as por
postill6n m postilion.
^^ Dioa, in heaiena name,
postrar, to prostrate, humble;
^^V por eso, on that account;
overthrow; refi. to bow.
^^m foi si, lest; to see if; por
posbero, a^j., last, latest.
^^1 tanto, therefore; por tierra,
potente, adj., powerful.
^^H ' on the grtiuod.
Potosf, ^r. H. (0 mountain in
^H pOTdlosear, lo beg, ask alms.
Peru, rich In minerals).
^^^^^r VOCABULARY 409
potro m colt horse (<^ to
presagio m presage to-
four years M)
ken
pradera / neadow pr r e
presea / precious art le,
prado n mc do field
jewel
precaucifin / precauL on
presencia f presence
preciado odj pr c oui
br nf, before
precioso adj pre oub beau
presente adj [resent Hi
t fill V Ity
presente at present now;
precipiciD m prec p c
1 m present gift
precipitar to dr e headlong
presentar lo feel n ad ance,
hasten r fl lo rush
ha e a forebod ng of fore-
precise adj necesuty
see
prefenr to prefer
presidente n prea dent pre-
pregonar i pro U m
s ding judge
pregonero adj annuunc ng
presidir to preside over
of i cr cr
preso (fj cap e
pregunta f question
prestar to lend add
preguntar t ) ask
presteza / speed haste
prelado a prelate
presto adti speed ly
premio 1 re ard prize
presumir to suppose
prenda f pledge tuke
presura f haste
viluaUr ornament je I
presuroso adj qu k has-
en prendas de que 3 1
ty
plelfce that
pretender lo endeavor ex-
prendar harm
pert tiis re
prender 0 1 n fasten ap-
prevenirse to make ready;
t ale
pre&ado adj prcgnint badei
prensiSn f fores ght
laden preiladoen 1 g v th
primavera / spr ng
chdrj,e(i th
primero adj hrst earliest;
preparar to prcpar make
front {rank)
reidj
pntnitivo lulj pnm ti\e
presa / pre pr at
pnmo ousm
^M 410 VOCABULARY ^^^1
^H primoeenito, adj., first-born,
profesor, m., teacher, pro-
^M
fessor; one who pro-
^H primor, m., beauty; beautiful
fesses.
^K handiwoik.
profeta, m., prophet.
^H piimoroso, adj., exquisite.
profundo, adj., deep, pro-
^B principal, adj., chief; cetc-
found; lo profundo, the
^^ brated, illuatriuus.
depths.
principc, m., prince.
prop-eso, m., progress.
prmdpiar, to begin.
prole,/,, offspring.
principio, m., beginning, com-
proloaear, to prolong; pro-
mencemEnt; dar prindpio
longado, prolonged, long-
fi, to inaugurate.
drawo.
prisiSn, /., prison; imprison-
promesfl,/., promise.
ment.
Prometeo, fir. n. m., Prome-
prisionero, m., prisoner.
theus (the hero of a Greek
pro, m. and /.; en pro de, in
mylh thai ka! to do with the
behalf of.
origin of fire. As a punish-
probar, to try, try to discover;
metU for bringing Jin to
taste, experience.
man, Prometheus was bound
to a column and visited daily
proceder, m., conduct, be-
by an eagle which ale his
havior.
liver, until he was freed by
'proceloso, adj., tempestuous.
Hercules. In Aeschylus and
procero, adj., tall, lofty.
later poels, Promeihtus sym-
procesifin,/,, procession.
bolises the emancipator of
proclamar, to proclaim.
mankind from darkness and
procuTHT, to try; aolicit; iiuc-
ignorance).
ceed In; secure, obtain.
prometer, to promise; prome-
L prodigar. 10 lavish.
tido, betrothed.
m prodigioso, adj., marvelous.
pronto, adj., ready; sudden,
■ producir, to produce, cause.
prompt; adt,, quickly, sud-
f profanar, to profane, deiile.
denly.
" protesar, to praiiise, pro-
pronunciar, to pronounce,
fess.
"'" M
p .„..., „,
^H propido,a*y., propitious, suit-
puesto qtie, conj., although;
^g
since.
pn^o, adj.. own; si propio,
pugna, /., battle, cimflict.
himself.
pujania,/., might, power.
proponer, lo propose.
proTB, /., prow.
honor.
prooesuir, to continue.
punta,/., point.
punto, m., point, momeni;
proBteruoi, to prostrate.
al punto, immediately; k
proterro, adj., perverse, per-
punto de, at the moment
sistent in evil.
of.
^Btopomi,/., first of dogs.
punzante, adj., sharp.
punzar, to prick.
provocar, to incite, rouse.
punzOn, m., punch, awl.
puflal, m., dagger.
prflzimo, adj., near, ready.
pufio, m., fist; cufi; hilt.
prodencia,/., wisdom.
pupiU, /., pupil (0/ Ike
pnidente, adj., prudent.
eye).
wise.
pureia, /., purity.
pniebB, /., proof.
purgatorio. w,, purgatory.
Prnsis, pr. n., Prussia.
purificar, to purify.
puWicar, to proclaim.
puro, adj., pure; mere; do
pudor, m., modesty, shame.
puro eoamorado, purely
pueblo, m., town; people; na-
from love.
^^L tion.
piirpura,/., purple.
^HvnMHe, «t. and/., bridge.
puiplireo, adj., purple.
^HfUVril, adj., boyish.
puipurino, adj., purplish.
^^K.paerta,/., door.
'
^^H Puerto, m., harbor, refuge.
0
^H pace, adv., well, of course.
^^M Burely, then; |pues bien!
que, relative proti., who.
^^H welll come then! conj.,
which, that; conj., that,
^^V since, for; pues que, a1-
for, since; and; adv., than;
^^M though, beciiuse.
ique? what ! i« qu€? where-
r
412
VOCABULASY
^L capt
^H quiU,
IL
fore! [que! what! jqul del
how many!
quebrantai, to break.
qnebrai, tr, to break; weaken,
tarnish, dim; color que-
brado, sallow color; hilr. to
go bankrupt,
quedar, to remain.
quedo, adj., quiet, stQl.
queja, /., complaint, la-
quejarse, to fumplaiii, la-
querella, /., complaint; quar-
querer, to wish, desire, love;
querido, dear, beloved,
querube, m., cherub.
quisn, pron., who, whom,
whoever, he who, one who;
(arch.) which; jquiin su-
plera escribirl if I could
quieto, adj., quiet.
quimera, /., dream, imagina-
quince, hfteeii.
quinto, 6fth.
quitar, to take away, take off,
remove; quitar & uno la
piiBi^Jn, release one from
:aptivity.
quilA, adv., perhaps.
rabia, /., rage, fury.
rabo, iR., tail.
racitno, m., cluster, h\
1
ch of
grapes,
radionte, adj., radiant.
radioao, adj., radiant,
rajai, to cleave, split.
rania, /., bough, branch.
ramaje, m,, branches,
ranial, m., branch, ramifica-
ranio, m., bough, branch.
RamSa, pr. n. m., Ray-
mond.
ninda, /., iace trimming.
rSpido, adj., rapid, swift,
raro, adj., strange, unusual,
rasgar, to rend, tear.
rastrero, creeping, trailing.
rastro, m., trace, veatige,
rato, m., short space of Lime;
& poco rato, in a little while.
raudo, adj., swift.
rayo, m., ray, thunderbolt.
razfin, /., reason, reasoning;
right, justice; word,
razonar. to talk, <
real, adj., royal.
VOCABULARY
413
realidad, /., reality.
realizar, to realize, bring to
pass.
reanimar, to revive, bring to
life; encourage, cheer.
rebafto, m., flock, herd.
rebelde, adj., rebellious.
rebosar, to overflow.
rebnunar, to bellow.
recamado, m., raised em-
broidery.
recamar, to embroider with
raised work.
recatar, to conceal.
recato, m., modesty.
recelar, to fear, dread.
recelo, m., fear, suspicion.
receloso, adj., suspicious, dis-
trustful.
recibir, to receive.
redente, adj., recent.
rednto, m., inclosure, lim-
ited space, precincts.
redo, adj.y, hard.
redinado, p. p., reclining.
recobrar, to recover.
recoger, to receive, gather up,
pick up; draw in, press
against.
rec6ndito, adj., secret, con-
cealed.
reconocer, to recognize.
recordar, to remember; re-
mind, call to mind.
recorrer, to pass over, pass
through.
recrear, to delight, gladden.
recto, adj., upright, sane,
honest.
rector, m., rector; priest.
recuerdo, /ii., romomhrauio,
memory.
rechinar, to creak.
redyf.y net.
rededor, m.; al rededor. en
rededor, round uhoul.
redend6n,/., redemption, sal-
vation.
redentor, w., redeenuT.
redondo, adj., round.
reflejar, to relUn l.
reflejo, w., relUviion, re-
flected liKht.
refrenar, to rherk.
refugio, w., refuKe, Hheller.
refulgente, adj., rertilgrn(«
brilliant.
regalado, p. />., deliKhifiil.
regar, to sprinkle.
regenerar, to reKenetnle.
regiamente, adv., rovnlly.
regio, adj., royal, n%i\\.
regi6n,/., reKJon, renlin.
regir, to rule.
registro, w., nt»te, entry.
regocijo, m., joy, Kli»'l»»«*f*s.
regodeo, ;«., joy.
regresar, tu return.
414 VOCABULARY ''^^^1
rehuEai, to refuse.
rencor, m., grudge, spite.
reina,/., queen.
haired.
reinado, m., reign.
rendimieato, m., submission.
rcinv, to reign, rule.
rendir, to yield, render, sur-
reino, m., kingdom, realm.
render; produce; overcome;
reir, to laugh; reiree (de),
rendir culto fi, worship;
laugh (at).
rendir parias i, pay hom-
reja,/., iron bars of a window,
age to; rendido, subdued.
grating; rejas de la calle.
conquered, worn out; ob-
gratings before the win-
sequious, devoted.
dows of the ground floor.
renovar, to renovate.
rej6ii, M., spear (/or bult-fig^h
ing).
swear.
relSmpago, m., lightning
retiir, to scold; reDJdo, hard-
flash.
fought.
relegado, p. p., remote, un-
reojo; mtrar de reojo, to look
important.
askance at.
religiSn,/., religion.
reparador, -ra, adj., recuper-
reUquia,/., remnant, remains.
ative.
reloj, m., clock.
Teparar, to observe.
relucieate, adj., glittering,
repartir, to distribute.
flashing.
repasar, to examine, peruse.
relucir, to shine, glow, glit-
repetir, to repeat.
,. ter.
repUcar, to reply.
^^k remate, m., pinnacle.
reponty, lo answer; p. p., te-
^^B remedlo, m., remedy, aid.
puesto, secluded.
^^m remero, tn., rower, oarsman.
reposar, to rest, repose.
reposo, m., rest.
repugnancia, /. , repugnance.
^H tex, eddy; crowd, throng.
resefla, /., review, summary.
^B remordimiento, tn., remorse.
reservsr, to reserve, con-
^^B remote, adj., remote, distiint.
fine.
^V reiiacdente,aJj., renascent, re-
resistir, to resist, withstand;
B
resistirse £, the same.
^^^V VOCABULARY 415
^H resonar, to resound, echo, ring
refo, w., challenge.
retorcerse, lo writhe; retor-
reEopUdo, m., snort.
cido, crooked.
reBpaldo,m.,back(o/ocAo(r).
retonwT, to return; retomar
leBpetable, adj., highly re-
en sf, come to oneselt {arch.
spected.
meaning).
respetOT, to respect.
retozar, to p[ay, romp.
respeto, m., respect.
retratar, to draw, copy, image,
reflect.
fespirar, to breathe, exhale.
retrato, m., picture, image.
inhale.
retribtiir, to repay.
retroceder, lo retreat, with-
shine.
draw.
lesplandor, w., light, radi-
retumbar, to resound, re-
ance.
echo.
responder, to reply, answer,
revelar, to reveal.
respond.
reventar, to burst, esplode.
responso, m., responsory for
reyerberar, to reflect.
the dead.
reverdecer, to grow green
respuesta,/., reply, answer.
again, acquire new fresh-
restar, to remain.
ness.
restauTftnte, adj., restorative,
reverencia, /., reverence, re-
life-giving.
spect.
reatos, m. pi, remains.
rev6s, m., reverse, defeat; a]
resudtar, to revive.
reves, on the contrary, in
resuello, m., breath.
opposite manner.
resuelto, p. p., determined.
revolucifln, /., revolution, up-
retardar, to delay.
rising.
retemblar, to shake, tremble.
revuelta,/., winding, twisting.
retirarse, to withdraw, retire;
ie?uelto, p. p., restless; intri-
retirado, retired, quiet, sol-
cate, confused.
itary.
rey, m., king.
retiro, «., retirement, pri-
rezar, to pray.
vacy.
rezo, m., prayer, devotions.
^V 416 VOCABULASY ^^^H
^B Rhin, pr. »., Rhine {Ike pHnci-
^
Rfidano, pr. «., Rhone (the
H pal river of w,sUr« E,.ropr;
principal river oj eastern
^ rises in soulkerii SvAizer-
Franct; rists in the Alps
land, fiows Ihroiigk 'j.tsl-
and empties into the Medi-
ern Germany aiid Holland,
lerratitan Sea; length, 504
and implies into llie North
miles).
Sea; Unglk, 760 miles).
rodar, to roll.
ribeia, /., baok, shore.
rodear, to surround, encom-
rico, adj., rich, exquisite.
pass.
ridicule, adj., ridiculous.
rodeo, m., winding.
rielar, to glimmer, shine.
rodiUfl, /., knee; de rodillas,
rienda, /., rein.
kneeling, on one's knees.
riesgo, m., risk, danger.
Rodrigo, pr. n. «i., Roderick.
rifleio, m., riSeman.
roedor, -ra, adj., gnawing,
rigido, adj., rigid, stiff; firm.
rigor, m., severity.
logar, to ask, beg; pray.
riguroso, adj., severe, harsh.
rojo, adj., red, ruddy.
rifi«,/., quarrel, fray.
Roma, pr. n., Rome (i» an-
rio, m., river, stream.
cient times the capUal oJ the
riqueza,/., riches.
Roman empire, and now the ,
risa,/., laughter, laugh.
capital oj the kingdom oj
riBCOSO, a4j.. craggy.
Holy. For centuries Rome
ristre, m., rest (/or a lance).
has been, with Jew inletrup- '
risueflo, adj., smiling, pleas-
tions, the seal of power of the \
ant.
Roman Catholic Church). f
ritmo, m., rhythm.
romance, m., ballad {usually '
riiai, to curl, ripple.
in oclosyllabic lines mth ai- {
robar, to rob, plunder, take
ternate assonance). ,
away; robar fi, steal from.
romano, adj., Roman.
robo, m., theft, plunder.
romper, p. p. roto, tr. to
robuEto, adj., robust, firm.
break, tear, break open;
sturdy.
rout, defeat; inlr. to break
roca, /., rock, cliff.
forth; re^. to break. ;
rocfo, m., dew.
ronco, adj., hoarse, harsh.
^ ^'
^^^H^P VOCAEULARY 417
Roosevelt, pr. «.
rumor, »., rumor, report;
ropa,/., clothes.
murmur, noise; .sound.
ropaje, m., clothes, apparel;
rumoroso, adj., loud, striking.
drapery.
rustico, in., peasant.
ropfin, m., loose gown.
rosa,/.,rose.
S
losado, ii>i;'., rosy.
RoEona, ^. «./., Rosanna.
sabeo, adj.. of Sheba, Sabean;
Rosario, ^. n. /. iliterally
arbusto sabeo, coffee- bush
rosary).
(Mocha is in Soulkern Ara-
Tosillo, mij,, roan.
bia [Yemen], the ancient
rostro, m., face.
Sheba).
rozarse (con), to be intimate
saber, to know, know how to;
(with).
be able to, can; learn; n. m..
nibio, adj., golden, ruddy;
knowledge, learning. ,
blonde, fair.
eabiamente, adv., wisely, skil-
rubor, m., shame.
fully.
nido, adj., rude, rough, diffi-
sabido, p. p., well-known.
cult.
sabiduria, /., wisdom, knowl-
ruego, m., entreaty, request.
edge.
ruE«r, to wrinkle, furrow.
Babio, adj., wise, sage; cun-
rogido, m.. roar.
ning.
rugiente,odj., roaring.
sabor, m., savor, taste.
niginoGo, adj., rusty.
sacai, to draw out, set free,
nigir, to roar.
obtain. ^^m
rugoao, adj., wrinkled.
EBcerdote, tn., priest. ^^^H
ruido, !»., noise, clamor; mur-
saciar, lo satiate. ^^^|
mur.
sacriflcio, ni., sacrifice. ^^^|
ruidosD, adj., noisy; widely
sacrosanto, adj., sacred.
known.
sacudir, to shake; shake off;
ruina,/., ruin, downfall.
strike.
ruisefior, m., nightingale.
saeta,/., arrow.
Biiiz, pr. >i.
EaeUa, /., loophole. ^^^M
rumbo, m., course.
1
sagaddad, /., sagacity. ^^^|
^V 418 VOCABULARY 1
^V sagrado, adj., sacred.
Banguinoso, adj., bloody;
^H sajar, to make a. cut in flesh,
blood-red.
^^ slash.
San Juan, pr. n.. Saint John;
^B sajfin, -^na, adj., Saxon.
Saint John's Day IJunen).
H sal,/., salt; wit.
santo, adj., saintly, blessed,
H sala,/., hall, parlor.
sacred, holy; n. m., saint;
^H salida, /., departure, setting
saint's day.
forth.
santtuuio, ni., sanctuary.
siKr, to go out, come out.
safla, /., anger, passion, fury.
issue, depart; occur; rise
safioso, adj., furious, angry.
(0/ the suii); salir de,
sailudo, adj., furious, angry.
leave.
saraiiento, m., runner, shoot.
salmfin, m., salmon.
sama,/., mange.
B«I6n, IB., hall, parlor.
samoso, adj., mangy.
salpicar, to sprinkle.
BatinJCO, adj., satanic, devil-
saltedor, -ra, adj., leaping.
ish.
saltor, to spring, leap, hop;
sateute, m., satellite, foUower,
rebound; se le saltan las
henchman.
laerimas, tears spring to
sfitira,/., satire.
her eyes.
satlrico, adj., satirical.
flalterio, m., psaltery.
Sfttisfaccidn, /., satisfaction.
salud,/., health; jsaludl hailt
satisfacer, to satisfy; humor,
saludable, adj., salutary.
grarify; repay; f. p. satis-
saludar, to salute, hail.
fecho, satis6ed, content.
saludo, m., salutation.
sauce, nt,, willow.
salva,/., salute, welcome.
sayal, m., coarse woolen
salvaje, adj., savage.
cloth.
Balvar, to save, preserve.
Bozonar, to season; ripen.
isalvel inlerj., haill
secar, to dry, wipe away, dry
salvo, adv., saving, barring.
up; parch, wither. |
san, abbreviation of santo.
seco, adj., dry, withered.
^ sangre,/., blood; race, family.
^^ ^angriento, adj., bleeding.
parched. " 1
secreto, m., secrecy; secret.
^^B bloody; cruel) blood-red.
■ft
secular, adj., century-old.
m .,..,., .,
^f: sed. /., thirst.
sencillo, adj., simple, artless;
■ aeda,/.,silk.
of less value {coins).
senda, /., path.
Gediento, adj., Ihirsting.
seno, m., bosom, breast; em-
sedoso, adj., silky.
brace; depths; womb.
seguir, /r. to follow, pursue;
sensible, adj., sensitive;
stirred.
ensue, '
sentar, to seat; establish, fix.
seg&a, prep., according to;
brand; rejl. to sit down.
conj., according as.
sentenda,/., sentence, doom.
segimdo, adj., second.
sentendar, to sentence.
segur,/., axe; sickle.
sentido, m., sense, senses.
de seguro, assuredly; tnal
grief.
seguro, unsafe, insecure, un-
sentir, to feel, perceive, hear;
certain, in danger; n. m.,
grieve, mourn, regret.
assurance.
sefial,/., signal, sign; portent.
sefiw {more often spelled
seaalar, to point out.
ceiho), «. «., silk-cotton
seflor, m., sir, Mr., gentle-
tree {eriodendron aafraclu-
man; lord, master.
osum, a Jlaweriag tree of
seflora, /., lady, mistress.
South America).
seflorio, w., domain.
seis, six.
seBuelo, m.. lure, enticement.
selva, /., wood, forest.
separar, to separate, part;
sellar, to seal, end.
rejl. to be separated, shoot
seUo, m., seal, mark.
off.
aemana, /., week; septenary.
sejmlcro, «., tomb, grave.
semblonte, m., face, counte-
sepulchre.
. nance.
Bembrar, to sow, strew.
interment.
seme jar, to seem, appear.
Egquito, w., retinue.
Bempiterno, adj., eternal, last-
ser, to be; es de ver, one
ing.
should see; n. m., existence,
1
^ 1
420 VOCABULARY
■
being, essence; person; no
inhabitants, on the river
I
aer, non-eiistence, nolhing-
largest and weaUhiest town
serailn, m., seraph, angel.
in A ndalusia. Formerly an
serenaU,/., serenade.
important Moorish capital.
sereno, adj., serene, quiet.
it ■u-as taken by the Christian
self- possessed.
Spaniards under Si. Ferdi-
serio, adj., serious.
nand in 1248).
wnflnaj., mountain-girl.
Shakespeare, pr. ». (William
Serrando, pr. n. (The ruins
Shakespeare U ^f,i-jf,\(,].
of the castle oj San Serrondo
the greatest nf English dra-
matic poets).
heigMs oJ IhK left bank ej
si, conj., if, whether; por si.
the Tagus, opposite Toledo.
to see if.
Some ingenious wrilers kane
si, adv., yes; otrori, see
attempted to trace the origtn
otro
of the name 0} CervanUs
siempre adv., always, ever.
hack to the name of ih,i
Giempieviva, /., everlasting,
castle, which was ereUed by
immortelle.
Alfonso VI.)
Bien / temple.
serricio, m., servjce
Bierpe f terpent, snake.
Bervidor, «.. servant, wooer.
Bierra, /., mountain-range.
lover.
ridge.
servidnmbre, /., slavery, ser-
Bierro, -a, m. andf., slave.
vitude, service.
siete, seven.
senrU, adj., slavish, of servi-
siglo, ni., century, age.
tude.
signo, m., sign, symbol, sign
■ervir, to serve, pursue.
of the zodiac; character.
Beeo, m., brains, sense, wis-
B^juiente, adj., following.
dom.
silbar, to whistle.
severo, adj., severe, stern,
sUbato, m., whistle.
^
serious.
silbido, m., whistling; sough-
^B1
SeviUa, pr. n., Seville (u
ing.
1
Spanishcityof some 150,000
silencio, m., silence.
VOCABULARY
adj., sibr
/., a particular verse-
form {having lines of 7 and
II syllabtei in lenglk, with
fret Hmc)\ a composition in
such verse-form.
Bilvestre, arf/., wild.
sills, /., saddle.
Billfin, m., arm-chair.
simbollzar, to symbolize,
typify.
^mbolo, m., symbol, type.
ain, prep., without; sin que,
cDBj., without.
EinceTO, adj., sincere.
siniestra./., left hand.
Bino, conj., but, cscept, un-
sinsabor, m., trouble, trial.
siquiera, conj., whether.
Birte,/., syrtes, whirlpool.
Bitio, «., place, site, spot.
so, prep., under, beneath.
soberano, adj., sovereij^n, su-
preme; highest, topmost;
n. m. and}., sovereign.
Boberbia,/., arrogance, pride.
soberbio, adj., proud, lofty.
SObrai, to be more than is
necessary; me sobra, I have
more than enough.
Bobre, prep., on, upon, above,
sobremanera, ddv.. extremely,
sobrepuesto. m.. [aciiig.
Eobresalir, to be supreme,
excel,
sobresalto, m.\ con Eobre-
salto, suddenly, with a
sobrevenjr, to arrive, ap-
Bobiino, -a, m, aiidf., nephew,
sociedad, /,, society,
sofocar, to .stifie.
solamente, adi'., only, alone.
solazar, to Eolacc, relieve.
soldado, m., soldier.
soledad, /., solitude.
solemue, adj,, solemn, grand.
Boler {defecline verb used only
in present and imperfect
lenses), to be wont, use.
Bolfear, to drone out.
solicitai, to try.
Bolltaiio, adj., solitary, lonely.
solito, adj., all alone.
solo, adj., alone, single, soli-
tary; i solas, alone.
s61o, adv., only; tan s6Io,
solely, only.
soltar, to let go, drop; un-
^F 43a VOCABULARY ^^hI
sodostr, to sob.
BOllOlO, M., sob.
sas^;ai, to rest; sosegado.
^_ sambra. /., shadow, shade,
quiet, peaceful.
^^L darkness; spirit.
soslayo; al soslayo, sidem'se.
sidelong.
0 sombrero, «., hat.
sombrfo, adj., gloomy, dark,
sostener, to sustain, hold up.
suUcn.
support.
son, w., sound, noise.
Soto, pr. n. ( = grc7w, IkUkd).
SOnuile, adj., sounding, son-
orous; rustling.
(pari of ConslaminopU).
BOiux, to make a noise, sound.
suave, adj.. soft, smooth.
ring.
subir, I,, to L-limb; .W. to
sonelo. «., sonnet.
rise, mount.
sonido, m.. sound.
saUto, adj.. sudden; de ad-
sonoro, adj., loud, sonorous.
bito, suddenly, unexpect-
twounding.
edly.
sublime, adj.. sublime.
sonmr. (also reji.) eo smile.
suceder, to happen; suceder
i. succeed, follow.
sonrojo. m.. blush.
sncesa. ■•..ex-ent.
sndo, adj., dirty-
soflar. 10 dream, imagine;
sncumbir, to die, perish.
sojiar ea. con, dream of.
sudario, m.. shroud.
soplar. to blow.
Mdor, m., sweat.
soplo. M., blast, gust, breath.
snelo, <■-, ground, earth, smi.
sopor. ■>., letharg)-, hea\-y
floor.
sleep.
SDclto, p. p., loose, flowing;
sart>», to suck.
separate; at large.
S<H*>. aJj.. deaf; noiseless.
snello, M.. sleep, slomba;
silent, stiSed; duQ; linia
dream. vH^on.
sarda. m lima.
snerte, /.. chance, lot, fate;
good fonuDe; slate; way, 1
^^^ upon suddenly, overtake.
1
""J
VOCABULARY
423
siifrir, to suffer, endure, per-
mit.
suicida, m., suicide {one who
commUs self-murder).
sujetar, to subdue, conquer.
sujeto, adj.y fastened.
sultana,/., sultana, sultaness.
sumir, to plunge, submerge.
sumiso, adj.y submissive, obe-
dient.
sumo, adj., highest, supreme.
superar, to surmount.
superior, adj.^ superior, up-
per.
superstici6n, /., superstition.
suplicar, to entreat; iperdido
suplicar! vain supplication!
suplicio, m.j place of execu-
tion.
supuesto; per supuesto, of
course.
surcar, to furrow, plow.
surco, m.y furrow.
surgir, to issue, come forth.
sursum corda {Latin) ^ lift up
your hearts.
surtidor, m.y jet, spout.
|sus! interj.y sick him!
suspender, to hang.
suspense, adj.y hanging; in
admiration, in doubt.
suspirar, tr. to sigh forth; long
for; intr. to sigh.
suspire, m.y sigh.
sustentar, to support.
sustento, m.y support; nour-
ishment.
susto, m.y fright.
susurrar, to murmur, rus-
tle.
sutil, adj.y cunning, skilful;
keen.
tabardo, m.y tabard {a longy
loose outer cloak). ^
tafet&n, m.y thin silk, taffeta;
pi. woman's ornaments.
taimado, adj.y sly, cunning.
tajador, -ra, adj.y sharp.
Tajo, pr. n.y Tagus {the longest
river in the Spanish penin-
sula; it rises in the Albarra-
cin mountainSy skirts the
provinces of Guadalajara
and Madridy flows about
Toledo y crosses Portugaly
and empties into the Atlantic
at Lisbon).
tal, adj.y such, the following;
el tal, the aforesaid.
talar, to lay waste, ruin.
talento, m.y talent, mind.
talle, m.y figure.
taller, m.y workshop, factory.
tallo, m.y stalk, stem.
tambien, adv.y also.
tambor, m., drum.
w
^^
^H 424 VOCABULARY 1
^H twnpoco. <tdv., neilher, (u//f
techo. m., roof, celling.
^H negalitt) eilbcr.
lechtimbre,/., ^higk) roof.
H taa, adv., so, so much.
tedio, m., eoDui, loalbiog.
^H TinUlo, ^. ft. m., Taotalus.
tejer, lo weave.
^^M (Acrording to Cretk Ugrnd,
tekraaa,/,, cobweb.
^H Tanialus. having egendtd
telilla./., membrane.
^H Ikt gods, iBos cast into Tar~
temblar. to tremble, shake.
^H taru!, and Ikirt punished.
temblor, m.. tremor, thrill.
^H Ont version has il thai he
^H siotd in 0 pool ichost aatrrs
tenier. to fear, be frightened.
receded aheneter he sloaped
temertSn, -ona. adj., rash, dar-
to dnnk^ ahUe mer his head
ing.
hung dusters of fruit that
temeroso, adj., tearing, timid.
kept beyond his reach.)
temor, m., fear-
tMlto, adj.. so miiA, as much;
tempestad./., tempest, storm.
otTRS tantas, an equal num-
tempestuoso. adj.. tempestu-
ber; adu.. so much; en
ous.
tanto. meanwhile; en tanto
.templar, to soothe, allay.
que, while; un. tanto, some-
calm; temper, prepare;
what, a Utile.
tone; rerf. to reslr^n one-
tapar, to cover, veil.
self.
tapete. m-, cover, clolh.
templo, M., temple, church.
tapta./., mud waU, wall.
shrine.
b^iar. to waU in.
tenqnna. adj., eariy, pre-
^K tapiz. m., tapestry.
cocious.
^ft tardar, to delay, be slow in
tenai, adj., stubborn, obsti-
^^H . coming.
nate; heavy (0/ sleep).
^^^L taide, adj., late; ». /., after-
tender, to spread, spread out.
^^H noon, evening.
■ eitend, display, sttetch
^^1 taiAo, adj., late, tardy.
out; tender d vnelo, lake
^^H taido. adj., slow, tardy.
flight.
^H tana./., task.
tenebroso. adj.. gloomy, shad-
^V TmOt, pr. m. m.
owy.
^m tM,/., torch.
tener, to have, hold, poasass.
VOCABULARY
425
keep; tener por, consider,
deem; tener que, have to,
be compelled to; refi. to
stop, halt.
teair {p. p. tinto), to tinge,
color, stain, dye.
teocalli, or teucali, m., teo-
calli (an Aztec stone temple y
built on a truncated pyra-
mid; by extension^ the pyra-
mid. The pyramids now
standing at Cholula and at
San Juan de Teotihuacdn
are the largest in Mexico.
The former is covered with
earthy and much resembles a
hill. On its summit a Chris-
tian church has been erected.
The pyramid at San Juan de
Teotihuacdn^ near Mexico
Cityy has been cleared of
earth and debrisy as have
also the homes of the priests
about it. This pyramid is
nearly as large as that of
Cheops in Egypt).
Teodoro, pr. n. w., Theodore.
Tequendama, pr. n. (a large
waterfall 12 miles west of
Bogotd, Colombia, and at
an altitude of Sooo feet above
sea-level; the water falls 455
feet).
tercero, adj., third.
tercio, m., regiment {in i6th
and lyth centuries).
terdopelo, w., velvet.
Teresa, pr. n. /., Theresa.
termino, m.y boundary, limit;
bounds, space; pi. territory,
expanse.
temtira, /., tenderness, affec-
tion.
terrenal, adj., terrestrial,
earthly.
terreno, adj., earthly.
terrestre, adj., terrestrial,
earthly.
terrible, adj., terrible, awful.
terrifico, adj., terrible, fright-
ful.
terror, m., terror.
terso, adj., smooth.
tesoro, m., treasure.
testigo, m.y witness.
tetrico, adj., grave; crabbed.
tez, /., complexion, face.
tibio, adj., warm, mild, soft.
tiempo, m., time; & un tiempo,
at the same time; en un
tiempo, once.
tiemo, adj., tender, kind,
young.
tierra,/., land, earth, ground,
floor.
tigre, m., tiger.
timbre, m., device, crest;
tone.
^V 426 VOCABULAKY ^^^^^^H
^M Qmido, adj., limid.
todo, adj., every, all; R. m..
^m tmUSn, m., helm, rudder.
everything, whole.
^* tmiebla. /. (generally pi.),
toisfiD, m. (French); tois6n de
darkness.
too. Golden Fleece (in
tioo, n., judgment; sis tino,
Greek tradition, the fieece of
aimlessly.
the ram Chrysomallvs, the
tmtft,/., color, tint; ink.
recovery of which wai the
tiranfa, /., tyranny.
pur pose of the At gonautic ex-
tinmo. adj., tyrannical, op-
pedition. The golden fiuce
pressive, overwhelming; it.
has given its name lo a celt-
«., tyrant.
bratsd order of knighthood in
tiMT, to throw, toss.
Austria and Spain, founded
Tiro, pr. n.. Tyre (ike most
in Burgundy in 1430).
important city and seaport
Toledano, adj., Toledan, of
oj ancUnl Phoenicia).
Toledo.
Tirtoo, pr. n., Tyrtaeus (a
Toledo, pr. ». f. (an ancient
Creek lyric poet of the sevenlh
mailed Iou'h in NeTf Castile.
century B.C., famous for kis
situated on a granite hill
political elegies and march-
nearly surrounded by the
ing songs).
deepgorge of the Tagus; pop-
TMn, pr. »., Titan. (In
ulation now. about 20,000.
Greek mythology, the Titans
Toledo was an important
awe the famUy from which
capital during the rule of the
sprang Cronos and his son
Visigoths and of the Moors;
Zeus, kings of the gods.
it was captured by the Chris-
Those Titans who rebelled
tian Spaniard sunder Alfonso
against the rule of Zeus vere
VI of Castile and Leon in
conquered and cast into
1085, and was for some time
Tartarus.)
the capital of Spain).
toca,/., head-dress, hood.
Tolstoy, pr. n. (Count Leo
tocar, to touch; toll, ring,
Tolstoy li&2S-igio]. a fam-
blow, sound.
ous Russian author. Among
toda»fa, adv., yet, stiU; never-
his teachings is that of pas-
theless.
sive resistance).
VOGABUL.\RY 437
tomar, to take, get, receive.
lorreado, p. p., turreted. ^KM
tomiUo, m., thyme.
torrente, n>., torrent. ^^|
topado, m., topaz.
torre6n, m., strong tower. " t
toque, m., peal, ringing,
tfirrido, adj., torrid.
stroke.
tortolica, /. {dim. of tfirtoU),
torbellino, m., whirlwind.
turtle-dove. ■
cloud.
torvo, adj., stern, grim.
torcer, to turn; wind, bend.
tosco, adj., coarse, rough.
tordtco, m. (dim. of tordo),
tostado, p.p., rich snd dark
thrush.
irf color).
toril, «., bull-pen.
trabajo, m-, labor, work, toil.
tonnenta, /., storm, tempest.
trabar, to join; trabar la
hurricane.
bataUa, join battle, begin
tonnento, m., pain, anguish.
tbe fight.
tonuentoBO, adj., stormy.
tradicifin,/., tradition.
Tonnes,^, n. (0 riverlhatrhes
traer, to bear, bring, carry,
in Ike Credos mountains near
drag, swing.
Aviia, and, Jlowng Ihtough
traficar, to barter.
Salamanca, emplies into the
tragar, to swallow, swallow
Duero).
up, devour.
tornar, tr. to turn; return, re-
trfigico, adj., tragic.
store; inir. to turn, return;
traicifin,/,, treason, treachery.
tomar en rf, come lo one-
traicionero, adj., treacherous.
self, recover consciousness;
tiaidoi, -ra, adj., treacherous,
rejl. to return; (-j-iVA or
traitorous; n- m., traitor.
mlhout en) become.
trallla, leash; mozo de tratUs,
tomasolado, p. p., iridescent.
keeper of hounds.
tamo; en tomo, round about;
trajo, m., costume, dress.
en torno de, around, about.
trance, m., peril; crisis; last
tors, m., bull.
moment of life.
toipe, adj., base; stupid,
clumsy, unskilled.
transitorio, adj., transitory.
torre,/., tower, turret; Torres
BenneJBB, ste bcnnojo.
i
ency, limpidity.
I
498
transparente, adj., transpar-
trapo, m.. rag; sails; t todo
trapo, with all sails set.
tras, prep., behind, after,
traspasar, to traverse, cross,
traspouerse, to set (0/ Ihe
tratar, ir
VOCABULARY
trato.
traT#s; fi traves de, al travea
de, through* de traves,
sidewiae.
trazai, to draw, sketch.
tregua, /., truce.
tremecfo, nt. (=caballo de
Tlemcfin, a hoTse from
Tlemcen, a cily in Algeria,
80 miles soulhivesl of Ornii),
Arab steed.
tremendo, adj., awful, grand,
huge.
tremer, to tremble.
tremulo, adj., shaking, trem-
bling, Lremulous.
trenza, /.. tresses; braid.
trepador, -ra, adj., climb-
ing.
trepar, to climb, mount.
ktribu, /.
tribunal
tributar, to pay the tribute of,
offer.
tributo, m., tribute.
tricolor, adj., cricolored.
triste, adj., aad, sorrowful,
wretched, dismal, mourn-
ful; trifite de ti, alas for you,
tristemente, adi'., sadly,
mournfully.
tristeia, /., sorrow, gloom,
melancholy,
triunfal, adj., triumphal.
triunfar, to triumph.
triunfo, m., triumph, '
trompa, /., horn,
trompeteria, /., trumpets.^
tronante, adj., thunderou|
tronar, to thunder,
troncD, m., trunk; log.
tropa, /., troop, throng,
tropel, m., rush; crowd, troop.
tropical, adj., tropical.
trSpico, m., tropic.
tropiezo, m., slip, fault.
tnicha,/., trout,
trueno, m., thunder, thur
tudesco, adj., German.
tumba,/,, tomb, grave,
tumbo, ffi., fall; pL, rapiji
tfimido, adj., swollen.
roU^^H
VOCABULARY 429
ttunulto, m., tumult, uproar.
dnico, adj., sole, only.
turoultuoso, adj., lumultuouB.
unifoime, m., uniform.
tundir, to cudgel, drub.
uiii6n,/., union.
hino, adj., roguish, "rasciti I y.
unir, to unite, add; unido El
tupldo, adj., thick, luituriani.
suelo, close to the ground.
turba,/., throng.
imlverBal, adj., universal.
turbar, to disturb, trouble,
complete; of the universe.
confuse.
umverBO, m., world, universe.
turbio, adj., muddy, turbid;
ufia,/., nail. claw.
indistinct; dusky.
urbano, adj., courteous.
turbtilento, adj., turbulent.
Timfl, /., t»bt —
turgente, adj., swollen, swell-
Uruguay, pr. n. {Ike smalUsl
ing.
republic of South America;
Turk, pr. a. (anolker name
on the east coast between
0/ the rhrr Guadalaviar,
Argentine and Brazil; area.
wkkk rises in the Albarra-
about 72,000 square miles;
population, about 1,100,000.
inlo the Mediterranfan afler
The capital, Montevideo, is
Jloviing through Valencia).
the most important seaport
tumar, to alternate.
in South America, and the
tutelar, adj., tutelary.
fourth or fifth largest in
shipping of the world; it
has sanir 330,000 itihabi-
U
tanis).
nfono, adj., proud; cheerful.
usar, to use, wear; caminos
ulcerado, p. p., ulcerated.
por usar, untrodden ways.
filtimo, adj., last.
uso, m., usage, custom.
ultrajar, to insult, maltreat,
uva, /., grape.
outrage.
ultraje, m., outrage.
V
mnbilo, adj.. shadowy, dark.
undoso, adj., wavy, billowy.
vacilaote, adj., wavering,
undulftr, to undulate, ripple.
tremulous.
rise and fall.
vaciUr, to hesitate.
1
r
430 VOCABULARY |
Tufo, adj., empty, void; b.
vano, adj., vain, empty, idle,
m., void, empty space.
useless; conceited; en vano,
emptiness.
in vain, useless.
vagor, lo wander, roam.
vapor, m., vapor, mist, spray.
vagaroso, adj., errant, wan-
vaporoBO, adj., misty.
dering.
vara,/., yard {.about 33 inches).
vago, adj., wandering; vague.
Vargas, pr. .;.
valv^D, m., wavering, vacilla-
vario, adj., various, different,
tion.
varied.
vajiUa,/,, table-service, china.
varaoil, adj., manly, virile.
ValencU, pr. n. (a city oh Ike
vasallo, m.. vassal, subject.
fast coa^l of Spain; popula-
yaso, m., glass, vase, jar.
tion, about 213,000).
vSstago, m., stem, sucker.
valentfa, /.. valor, gallanlrv.
valer, to be worth; mfia vde.
vecino, adj., neighboring.
it is better.
near, close.
valla, /., worth, excellence.
vega,/., meadow, plain.
valiente, adj., valiant, brave.
keen, fervent.
by compulsion.
veinte, twenty.
TEtlona,/., broad rolling collar.
vejM,/.,oldaBe.
valor, m., valor, courage;
vela,/., sail; candle, taper.
value, worth, price.
velar. It. to veil, cover; inlr.
ValladoUd, pr.n.{a town in Old
to watch, be awake, keep
Castile; papulation, about
vigil; velar por, to watcb
65,000; for a lime, the capi-
over.
tal of Spain under Philip 11
Velarde, pr. n. (Pedro Ve-
and Philip HI).
larde |i77g-i8o8], a dis-
yalle, m., valley, vale.
linguiihed Spanish cavalry
ojicer who led the revolt
rogantly.
against the French, May 2,
vtodalo, m., vandal.
1808, and lost his life. To
vanidad, /., vanity, ostenta-
Velarde and Daoiz, several
tion.
years after their death, the
^B'^r VOCABULARY 431
3000 feel above sea-level.
General was graaled by the
and has some 100,000 in-
crown).
habitanls).
velero, adj., switt-aailing.
vengador, -ra, udj., aveng-
veleta,/., wealher-cock, vane.
ing.
velo, m., veil.
veloz, adj., swift.
vengar, to avenge.
vell&i, m,, fleece.
venir, to come, come upon.
velludo, m., rough velvet.
ventaja, /., advantage; Uevar
TeM,/„vdn.
de ventaja fi alguien, to
vencedor, -ra, adj., conquer-
have the advantage over
ing, victorious; M. m. and
one.
ventana, /,, window.
rencer, to conquer, triumph;
Ventura, /., fortune, good tor-
vencido, conquered, sub-
tune, happiness; chance;
missive.
por Ventura, by chance; sin
vendavBl, m., strong wind
Ventura, unfortunate.
from the sea..
venturoso, adj., happy, fortu-
vender, to sell.
nate.
veneno, m., poison.
Venus, pr. n. f. {in classical
veneaoBO, adj., venomous,
mythology the goddess of
poisonous.
love [Greek Aphrodite]; one
venerable, adj., venerable, re-
legend has it thai she sprang
vered.
from the sea-foam which
veneraciOn, /., veneration.
gathered about the malUated
venerar, to respect, honor.
Uranus) i estreUa de Ve-
VraenieU, pr. ». (a r^piMk
nus, {the planet) Venus.
on the northern coast 0}
ver (p. p. visto), to see; estar
South America; area, about
mal Tisto, to he disap-
600,000 square tniies; pop-
proved of, unpopular.
ulation, about 2,500,000,
veiano, m., summer.
most of U'hom are of mixed
verdad,/., truth. ^H
Indian and Spanish blood.
verdadero, adj., true, reaU^^f
The capital, Caracas, is
verde, adj., green. ^^H
^H 432 VOCABULAKY ^^^|
^H verdor, m., verdare, grcen-
■rictima,/., victim. 1
^H ness; frcEhncaa.
victoria,/., victory. 1
^1 verdugo, m., executioner.
vid,/., vine, grape-vine. 1
^H murderer.
vida,/., life; de mi vida, my
^H verdura, /., verdure, herbage.
dear.
^B vergel, /., flower-garden.
Vidrio, «., glass, window-
^* Tergonzoso, adj., shameful,
pane; vidrlo de colores,
disgraceful.
stained-glass window.
TCrgflenza, /., shame, dis-
viejUIa,/., little old woman.
grace.
viejo, adj., old, ancient; n.
verso, m., verse.
m. and /., old man, old
vfatebra,/., verlebra.
woman.
veiter, to shed, pour forth.
VientO, m,, wind, air; van-
vertigo, *n., dizziness; insan-
ity.
ity; confusion.
vigilante, adj., vigilant.
vestido, m., dress, garment.
vigor, m., vigor.
vestidurp,/., vesture.
vil, adj., vile, base.
vestir, to clothe; wear, put
ViUadiego ; tomar las de Vflta-
on; vestirse de, to put on.
diego, to run a«ay.
TBZ, /., time (as one of a «-
Villalar, pr. n. {a village in
Ties); i ve«s, at times;
the province of Vatladolid,
icufintas vecesl how often!
where the comuneros who
en vez de, instead of; otra
had revolted against the rule
vez, again; tal vez, perhaps,
of Charles V were defeated 1
perchance; sometimes; una
in 1521). 1
vez, once.
villanfa, /., villony, meanness, {
viaje, m., journey, passage.
base deed. ;
viajero, m., traveler.
Villano, adj., rustic, not no- |
vibrante, adj., vibrating.
ble.
thrilling.
vinagre, m. (or f. in dialed).
vibmr, Ir, andinlT. to vibrate.
vinegar.
jar, Ihrill.
vino, «., wine.
^^ Vicio, HI., vice.
viotento, adj., violent.
^H vidoso, adj., vicious.
Il
violeta, /., violet.
1
VOCABULARY 433
7ir«r, to tack, come about.
hurrah fori vive Dios, as
viigen, /., virgin.
God lives.
Virgilio, pr. n. m., Vergil
vivo, adj., alive; bright; sharp.
(Publius Vcrgilias Maro,
intense.
[70-ig B.C.], a celebrated
Roman poet).
volador, -ra, adj., flying.
viril, adj., virile, manly.
swift.
viitud,/., virtue.
Tolar, to fly, take flight.
VisagM, pr. n. (The PuerU
volcfin, m., volcano.
Viaagra of Toledo is a
voltear, to revolve, whirl. '
double gateway, built in
voluntad,/., wish, will; desire.
iSS° ""d restored in 1575.
pleasure.
The Puerta Visagra An-
volver, Ir. to return, give
tigna is an older Arab gale
back; intr. to turn, re-
dating from the ninth ««-
turn; volver fi hacer, do
tury, and is now closed.)
again; rejl. to become.
viable, adj., visible.
turn.
vjsi6ii,/., vision.
TOraz, adj., voracious, raven-
ous.
Viaitar, to visit.
Vfirtice, m.. vonex. whirl-
viso, m., sheen, lustre.
pool.
rista, /., sight; glance; {Jig.)
volar, to vow; ivoto & Diosl
eyes.
I vowl
voto, w., prayer, supplica-
Thida,/., widow.
tion.
viva, m., acdamation, huz-
VOZ, /., voice; word, shout,
za.
expression; & voces, loud-
vlvsc, m., bivouac, camp.
ly-
vivBZ, adj., vivadous, live-
vnelo, «,, flight; de unvuelo,
ly-
without stopping, in one
vivero, w., fish-pond.
rush.
viviente, adj., living.
vuelta, /., turn, return; dsr
vivir, to live, be alive; vivir de.
vuelta, to turn; dar la
live on; ivival long live!
vuelta, to miike the circuit;
^^P 434 VOCABULARY '^^^B
^H estar de vuelta, to have
late; ». ffi., waste, deserted
^H returned, be back.
plain.
^H vtllgo, «,, populace, multi-
yerto, adj., motionless, rigid,
■
stark.
■
yuca, /., cassava, manioc
H
(/rom Ike root of which
^m W&Bbingttat, pr. »., Washing-
tapioca is made).
^H ton (George WaEhington
yugo, m., yoke.
H U73!~i799). first president
yimque, m., anvil.
■^ "/ 'fe (^'"''erf ■S'fl'e-').
Whitman t Walt Whitman,
pr. n. m. {an American
Z
peel [iSig-iSgs], author of
zafir, Hifiro, m., sapphire.
"Leaves of Grass" and other
zagal, m., swain, lad.
works).
zagala, /., maiden, shepherd-
Y
y, conj., and.
ess.
ya, adv., already, now, finally.
Zahara, pr. n. f.
lornier!y;ya...ya, now...
Zaidtt,?r. «./.
now; no ya, nor indeed;
Zalamea, pr. n. (a village in
no . . . ya, not . . . again;
Ike extreme west of Atida-
yano,noIonger;y«,Taque,
lusia).
cnnj., since.
zambrero, adj., lively.
yacer, to lie.
zapato, m., shoe.
Yara, pr. n. (a toien near San-
zarpar, to weigh anchor.
tiago de Cuba).
zarza,/., brier.
yedra, /. {mod. spelling hie-
Zocodover, pr. n. {the Ploia
dra), ivy.
yegua,/., mare.
the focus of Ihe city's life.
yehno, «., helmet.
It is a small triangular
yerba, see hierba.
plaza to the northviesl of Ihe
yenno, adj., waste, unculti-
center of Toledo).
vated, uninhabited; deso-
zona,/., zone.
VOCABULARY
435
Zorita, pr, n, (There are sev-
eral Spanish villages with
this name. The one men-
tioned in " Fiesta de toros,"
p. 37, /. 10, is in Alcarria,
and has the ruins of a famous
old castle.)
zonal, m., thrush,
zozobroso, adj., anxious.
zumbar, to hum, resound.
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